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Dolores del Rio

Irene Lentz – pioneer of an American luxury fashion brand

When it comes to luxury fashion brands, the US can’t hold a candle to Europe, particularly France. Crucially, the US has no tradition of couture. But, in the mid-20th century, one US luxury brand flickered into life and burned brightly and briefly. Its name: Irene, after its founder, Irene Lentz.

Evening gown by Irene Lentz photographed by Cecil Beaton
1951. Evening gown by Irene. Photo by Cecil Beaton. Read more.

Irene grew up on a ranch. As well as establishing her own brand, she was one of Hollywood’s busiest and most influential costume designers, with two Oscar nominations and 123 credits on IMDb. Those scandalous high-waist shorts and midriff-baring top in which we first encounter Lana Turner in The Postman Always Rings Twice are down to Irene.

Irene Lentz managed to build her brand in what was, before the 1960s, a sector dominated by men. That’s a distinction she shares with a handful of talented women, notably Jeanne Lanvin, Madeleine Vionnet, Coco Chanel and Elsa Schiaparell. In the US back then, the other notable dress designer was Claire McCardell, but she was working behind the scenes and aiming for a more casual, mass market.

Irene was a master of her craft, in touch with the zeitgeist and with a flair for marketing. She’s a remarkable and tragic figure, whose story falls into five chapters.

Chapter 1 – Irene Lentz gets going

Irene Lentz is born in 1901 in Brookings, South Dakota, then, in 1910, moves with her family to Baker, Montana. Nine years later she’s on the move again, this time with her mother and younger brother to Los Angeles.

In 1921, she’s working as a full-time sales girl in a drug store, when F Richard Jones (Dick to his friends) drops by and takes a shine to her. He’s a director of silent films at the Mack Sennett Studio and helps Irene to get a job there, initially as a production assistant, later as a star. IMDb lists eight movies in which she appears between 1921 and 1925. During that time she features as one of Mack Sennett’s Bathing Beauties – a bevy of scantily-clad (for the period) eye candy who keep popping up in his Keystone comedies and at any other opportunity.

Irene Lentz photographed by John Engstead
Around 1950. Irene Lentz. Photograph by John Engstead. Read more.

During her acting stint, Irene Lentz spots an opportunity to design and sell clothes to the growing movie community and from 1924–26 studies at the Wolfe School of Design. Dick Jones is still there in the background (or perhaps even the foreground, who knows?) and in 1926 they set up their first shop, on South University Avenue.

By 1929, the business is thriving, they relocate the shop to larger premises and get married. Then tragedy strikes. The following year, just 11 months after their wedding, Dick dies of tuberculosis age 37. Irene closes the shop and leaves for Europe, where she discovers the wonderful world of Paris couture.

Irene Lentz’s account of how she got started demonstrates her skill at building a brand story. Here it is, as reported by Frederick C Othman in Behind the Scenes, Hollywood in the 7 June 1942 edition of The Press Democrat:

She left the ranch when she was 16 to study music here at the University of Southern California. Had a roommate who was too timid to attend night school classes in dress design alone. Miss Lentz went along. After two nights she knew she was going to be a dress designer herself. She finished the course, dropped the music and set up a dress shop on the university campus, with the sign, “Irene.” That’s all the name she’s had since then. Just Irene.

“The campus shop was a great success from the beginning,” she said. “The dresses were cheap, and I do think they had a certain flair, but the real reason for my rushing trade was the fact that my store was the only place on the campus where the girls could smoke. Cigarettes were strictly against the rules everywhere else. So I always had a shop full of prospective clients, smoking. The place was so full of smoke so much of the time that my doctor wouldn’t believe it when I told him I didn’t smoke.”

The coeds smoked and bought dresses and received one of their major thrills when Dolores Del Rio walked into the store and bought an evening gown for $45.

“I never did learn how she heard about me,” Irene said. “But she was wonderful. Many a woman would not have told a soul where she’d bought that dress. But Dolores told everybody she knew. After that I got plenty of movie trade.

“One of my best customers was Lupe Velez. She refused to try on dresses in the fitting room. She tried them in the front room, by the plate-glass window. She always had a gallery.”

What a great account and love the sketches of Dolores and Lupe – the two Mexican superstars pretty much at the peak of their popularity. But, interestingly, no mention of Irene’s acting exploits or, indeed, of Dick Jones. Perhaps she feels that these would detract, or at least distract, from the narrative she wants to promote.

Irene’s tale of how “one day I discovered my passion and, through a combination of dedication and luck, built a business” is a kind of blueprint for so many subsequent start-ups. Notable practitioners are the likes of Markus and Daniel, the eponymous creators of Freitag, and Phil Knight whose memoir, Shoe Dog, recounts his adventures as founder of Nike.

Dolores Del Rio, a loyal Irene Lentz customer
1937. Dolores Del Rio, a loyal Irene customer and adovate. Photo by A L Whitey Schafer. Read more.

Chapter 2 – Irene goes into couture

Following the death of her husband, Irene Lentz goes to France for five weeks and while she’s there she visits the salons run by the Paris couturiers. She returns to the US, her head spinning with ideas. In 1931 she opens Irene Ltd on Sunset Boulevard and it’s a big hit. Within two years, it’s being eyed up enviously by the guys at Bullocks Wilshire, a Los Angeles department store that’s the pinnacle of style and opulence. They’re attracted by both the quality of her product and her stellar clientele.

There’s clearly synergy here and they persuade Irene to move her operation to the department store and open up a kind of French salon. This is a ground-breaking development – the first designer/retail store partnership of its kind. From now on, her clothing label, copied from a logo created by Dick Jones, simply reads “Irene.” Could her original inspiration have come from Gilbert Adrian Greenburg, known simply as Adrian, at MGM?

As a customer, the service you receive is as lavish as the clothes you’re buying. You can see Irene’s original creations modelled in-store. As at the salons in Paris, the team you meet for your fitting includes the designer herself as well as a tailor and a pattern cutter. You also get to have shoes and jewellery picked from elsewhere in the store to complement your ensemble.

The Irene brand already has a following in the film community and the move to Bullocks raises its profile, prestige and prices – one of those tailored suits will set you back $400–700. For the remainder of the decade, Irene Lentz continues to build her clientele among the stars and wealthy wives of studio executives as well as landing commissions from production companies to design the wardrobes for their movies. One of the first is Flying Down to Rio (1933), whose leading lady, Dolores del Rio, insists that Irene design her costumes.

Other divas whose film wardrobe she ends up designing include Constance and Joan Bennett, Carole Lombard, Loretta Young, Hedy Lamarr, Claudette Colbert and Ingrid Bergman. By the late-1930s she is travelling to Paris for the spring fashion shows. And by 1941, even British Vogue refers to Irene’s “Californian elegance.”

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irene lentz picking peaches

1. Irene Lentz in Picking Peaches

A chance to see Irene on the silver screen as a flapper. In this scene from Picking Up Peaches (1924), her co-star is Harry Langdon.

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irene lentz for lana turner

2. Irene’s scandalous costume for Lana Turner

Lana in a two-piece by Irene is as sizzling as the steak her co-star John Garfield is supposed to be keeping an eye on in this scene from The Postman Always Rings Twice (1946).

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irene lentz by lavoi

3. Irene by Greg LaVoi Lookbook

This is Hollywood costume designer Greg LaVoi's Fall 2013 Lookbook Video for his Irene by GV line, taking its inspiration from her creations.

Meanwhile, at a party thrown by her customer, fan and friend, Dolores del Rio, Irene Lentz meets Eliot Gibbons. This is no coincidence. During the 1930s, Dolores is the wife of Cedric Gibbons, the head of MGM’s art department (after their divorce in 1940, he will be seen out with, among others, Carole Landis before getting hitched to Hazel Brooks). Eliot is Cedric’s brother.

Eliot, an erstwhile assistant director, is working as a writer of short stories for newspapers and screenplays for movies. He’s also a keen aviator. So, when Irene expresses an interest in becoming a pilot, he offers to help her finish her required flying hours – a great pretext for spending lots of time together. On New Year’s Eve 1934 he proposes to her and they tie the knot in 1936. The flying lessons continue and, ironically, she gets her private pilot’s license just a couple of days before civilian flying on the West coast is prohibited following the Japanese attack on Pearl Harbor in December 1941.

A member of the wardrobe team makes final ajustments to Ava Gardner’s gown by Irene
1949. A member of the wardrobe team makes final ajustments. Ava Gardner’s gown is by Irene. Read more.

Chapter 3 – Irene Lentz goes to the movies

That attack also proves to be the catalyst for a career change. For a while, Irene has been unhappy with her financial arrangements with Bullocks. She’s been contemplating her next move, including setting up her own manufacturing company. But with the US being drawn into World War II, that seems too risky. So, she’s open to new ideas and approaches.

Louis B Mayer is also in a quandary. He’s facing a raft of departures from his wardrobe team including Adrian, his head costume designer. Irene Lentz is ideally qualified to rescue the situation: she has the talent, she has the profile and she’s not going to be drafted. Encouraged by his wife, one of her many friends and clients, Mayer proposes that Irene join MGM and run its costume department. She accepts but on her own terms.

On arrival, Irene quickly assembles a team around her. The challenges they face are formidable. A multitude of warring individuals and factions to finesse. A hectic and dynamic schedule that requires working all hours. And constant changes of stars, directors and producers that disrupt the best-laid plans.

Easter Parade (1948) is a case in point. When Charles Walters replaces VIncente Minnelli as director, songs have to be rearranged, Judy Garland’s opening scene reworked (so the original costumes for it are no longer needed) and two of Judy’s key ensembles have to be changed. Further wardrobe modifications are required when Ann Miller replaces Cyd Charisse. Then Gene Kelly gets injured and Fred Astaire steps in. Cue further changes to the dance sequences and costumes.

1943. Marlene Dietrich as Jamila in Kismet. Costume by Irene Lentz. Read more.

Another challenge is dealing with stars’ anxieties about their clothes. The studio is full of starlets desperate to impress and established stars worried that their careers may be on the slide. Irene’s combination of empathy and decisiveness are just what’s needed to reassure them.

In spite of all the distractions, though, there are movies for which Irene manages to get her ideas through. In the case of The Postman Always Rings Twice (1946), one of those ideas is to associate Lana Turner’s character with a colour, as a composer might with a musical theme. So, Cora wears white in every scene except two.

Finally, in June 1949 Irene falls victim to MGM’s internal politics, her departure apparently triggered by her nemesis, Katharine Hepburn (read on for more on her), outraged by Irene’s failure to show up for a fitting. She still seems to be hanging on in there, though, in early 1950, when Doris Koenig’s Vagabondia column in the 2 March edition of Monrovia Daily News Post reports that:

She Is now an executive designer of MGM Studios, besides having her own wholesale manufacturing business – Irene Inc.

So far as her studio is concerned, Irene has no last name. Her driver’s license lists her as “Mrs Eliot Gibbons,” but she has built “Irene” into such a trademark that if you ask the studio operator for “Mrs Gibbons” you draw a blank. Ask for “Irene” and you will be connected with her office…

Consistency is one of the hallmarks of great brands!

Diamond-print suit by Irene Lentz
Early/mid-1950s. Diamond-print suit by Irene Lentz. Read more.

Chapter 4 – Irene goes into ready-to-wear

Back in July 1946, Neiman Marcus let Irene Lentz know that, alongside Christian Dior, Salvatore Ferragamo and Norman Hartnell, she has been chosen as a recipient of their Award for Distinguished Service in the field of fashion. It gets her thinking. She’s sick and tired of dealing with internal politics and having to compromise her designs: “I want to create designs that reflect my taste, rather than cater to those of a director or producer.” She’s also got to the point where she’s established the reputation, the relationships and the team to make her ambition to set up her own manufacturing company realistic.

The one thing Irene lacks is financing. With the help of Harry Cohn at Columbia, she assembles a group of over 20 luxury department stores including Bergdorf Goodman (New York), Marshall Field (Chicago) and Newman Marcus (Dallas). She keeps 51% of the ordinary shares of Irene, Inc while her backers take the other 49%. As part of the arrangement, the stores get exclusives to her designs.

In 1947, Irene Lentz reveals her plans to begin designing her own range of clothes as well as continuing to work at MGM – she has negotiated a new contract to facilitate this. This time around she will be turning her attention to ready-to-wear rather than couture – “…marketing genius. Upscale stores could offer clients the Irene garments that stars loved,” says Mary Hall, founder The Recessionista.  In its Apr 1, 1948 issue, Vogue US, announces the launch:

NEW DESIGN

It is not news that Irene is a designer. Of all the women who design in America today, her clothes have had, in one sense, the widest public: she makes the screen-life clothes for stars of Metro-Goldwyn-Mayer where she is head costume-designer. But now the news is that Irene has turned her strong, fresh hand, again, to clothes for private lives, and her first ready-to-wear collection is now in several shops across the country. Consciously limiting her sphere, Irene makes no attempt to cover every phase of her new public’s life; she refuses to touch casual clothes, sports clothes. Instead, she makes the strict but feminine day-suit she is famous for, turns out beguiling afternoon print dresses, establishes her formal evening clothes as events.

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Pale grey suit with shutter neckline by Irene Lentz

Pale grey suit with shutter neckline by Irene Lentz

Late-1940s/early-1950s. The jacket's nipped-in waist seems to show the influence of Christian Dior’s New Look but its structured shoulders and the narrow skirt appear to be moving away from it....

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Check silk day dress with black taffeta trim by Irene Lentz

Check silk day dress with black taffeta trim by Irene Lentz

Late-1940s/early-1950s. The setting for this shoot may have been Irene’s boutique at Bullocks Wilshire. A paper label on the back of the photo reads:

5170 Check silk day dress...

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Brocade-trimmed suit by Irene Lentz

Brocade-trimmed suit by Irene Lentz

Early/mid-1950s. Irene’s trademarks were hand stitching, exquisite buttons and luxurious fabrics such as the brocade for this suit. An Irene garment was not cheap, but it was high quality and...

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Check suit by Irene Lentz

Check suit by Irene Lentz

Early/mid-1950s. Irene suits were designed and constructed to show off a woman’s waist. She used plaids, stripes and seaming to help achieve the effects she was looking for. It’s possible...

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For 15 years Irene continues to head up her own business, latterly being persuaded to design costumes for a select number of leading stars.

Chapter 5 – Irene Lentz throws in the towel

On 15 November 1962, with rave reviews from her latest show ringing in her ears, Irene Lentz heads for Hollywood’s Knickerbocker. It’s not a propitious place. In the early 1940s when it was still glamorous, actress Frances Farmer was tracked down there by police and sent to a mental institution. Later in the 1960s, William Frawley of I Love Lucy fame, will be dragged there to die after he collapses from a heart attack on the street.

Irene checks in to the now-faded hotel under an assumed name. That night she consumes two pints of vodka, tries to slit her wrists, then jumps out of an 11th-floor window. Hours later, her body is found on an awning. She has left a brief note: ““I am sorry to do this in this manner. Please see that Eliot is taken care of. Take care of the business and get someone very good to design. Love to all. Irene.”

Early/mid-1950s. Dark suit by Irene Lentz. Read more.

Why? Why? Why?

When you come across a tragedy like this, you search to make sense of it. How could such a talented woman do this to herself? But then how could the likes of Alexander McQueen and Kate Spade follow in her footsteps? Well, in one sense you can never know what’s going through someone’s mind when they make that decision.

The police suggested that Irene was “despondent over business problems and her husband’s illness.” According to her business manager, “Irene had been under a terrific strain. She had been in ill health for about two years.” What more can we say?

She was a woman operating in a man’s world – a fundamentally lonely undertaking. What’s more, she was working in an incredibly stressful environment with all sorts of budgetary, scheduling and interpersonal pressures quite apart from the need for relentless creativity – a killer in itself. On the surface, Irene was self-confident, but under the surface she had her insecurities. This example from Irene – A Designer from the Golden Age of Hollywood: The MGM Years 1942-49 is shocking in its brutality:

On August 2 1944, Irene and Virginia Fisher, her sketch artist, had a meeting with Katharine Hepburn to discuss the sketches for Without Love. Nothing Irene showed Hepburn seemed to meet with her approval. Before leaving, Hepburn quickly listed her ideas, reiterating sharply that she would return the following Monday and hoping Irene “will have designs that are in keeping with my character in the story.” It was the first time that Virginia saw Irene, who was always self-assured, physically shake. “Intimidation couldn’t describe what I witnessed. Irene was terrified by Hepburn’s stinging remarks,” Virginia confided.

Hedy Lamarr in The Heavenly Body
1943. Hedy Lamarr in The Heavenly Body – gown by Irene. Read more.

In the early days there was Dick Jones, and he seems to have been something of a buttress and a Svengali for her as well as the love of her life. They really do seem to have shared a dream. It’s probably no coincidence that reports of Irene hitting the bottle begin to emerge in the early-1930s – soon after his death. The problem got worse and worse as time went by.

Irene’s motives for marrying Eliot may have been praiseworthy but they proved to be a poor foundation for marriage. Around the time of her engagement, she told friends “I felt a need to take care of him.” Then, a year after their wedding, she had a skiing accident, which caused a miscarriage. She was devastated and never forgave herself.

On the other side of the marriage bed, it’s quite likely that Eliot – also an alcoholic – felt outclassed and overshadowed by his brother. World War II might have provided a distraction for him, but within a month of his return rumours began to circulate that he was going out with other women. Shortly before Irene’s suicide, he suffered a stroke (from which he recovered).

If by that time Irene Lentz had fallen out of love with her husband, she had fallen into love with Gary Cooper, according to her friend Doris Day. In her biography, Doris Day: Her Own Story, she remembers:

Irene designed the clothes for several of my pictures so I got to know her very well. She was a nervous woman, introverted, quite unhappy, and at times she drank more than was good for her. She had an unhappy marriage to a man who lived out of the state and only occasionally came to visit her. One time, toward the end of a long evening, when she had been drinking quite a bit, she confided in me that the love of her life was Gary Cooper. Irene was a very attractive woman, a lovely face, and when she talked about Cooper her face glowed. She said he was the only man she had ever truly loved. There was such a poignancy in the way she said it. It really broke my heart.

After that, she several times confided in me about Cooper. I got the impression that she had never mentioned him to anyone before me, and she was so happy to declare her love for him. Thinking about it now, I cannot honestly say whether Irene’s love was one-sided or whether she and Cooper had actually had or were having an affair. But the way she loved him touched jealousy in me, for I had never loved a man with that much intensity.

Cooper had died the year before Irene’s suicide.

Want to know more about Irene Lentz?

If you’re serious about Irene Lentz, you have to get hold of Frank Billecci and Lauranne Fisher’s Irene – A Designer from the Golden Age of Hollywood: The MGM Years 1942-49. Although it’s mostly about her years at MGM, it contains a well-researched chapter on her life up to that point. It has been the main source for much of this piece.

Online sources I have consulted include:

  • Various articles at Newspapers.com
  • Various articles by Mary Hall at The Recessionista
  • California Couture: Irene at Bullocks-Wilshire by Mary Hall for HuffPost
  • Irene Lentz by Hollis Jenkins-Evans for Vintage Fashion Guild
  • The Chic Life and Tragic Death of a Revered Costume Designer by Elizabeth Snead for The Hollywood Reporter
  • A sequel for Irene Lentz fashion line by Vincent Boucher for the Los Angeles Times.

Other topics you may be interested in…

Andrea Johnson, John Robert Powers model.
Andrea Johnson – forgotten supermodel of the 1940s
The Fashion Flight – California comes to Paris
Wilhelmina modelling a chiffon evening dress
Wilhelmina – glamour and tragedy

Filed Under: Behind the scenes, Crew, Fashion Tagged With: Cedric Gibbons, Dolores del Rio, Eliot Gibbons, Irene, Irene Gibbons, Irene Lentz, The Postman Always Rings Twice

A L “Whitey” Schafer – the art of the portrait

Janet Blair by A L “Whitey” Schafer
1941. Janet Blair wrapped in cellophane. Photo by A L “Whitey” Schafer. Read more.

A L “Whitey” Schafer was a leading stills photographer in Hollywood during the 1930s and ’40s. In 1941 he published Portraiture Simplified, a book in which he argues that “…portraiture’s purpose is the realization of character realistically.” It provides an insight into his approach and techniques.

To help promote the book, he wrote wrote an article for amateur photographers in the February 1943 issue of Popular Science. It makes a nice counterpoint to some of his studio shots. A transcript follows, but it’s worth taking a look at the original (there’s a link to it at the end of this article), both for the photos that illustrate it and for his advice on equipment, which do not appear here.

After the transcript, you will find a few reflections on A L “Whitey” Schafer’s Hollywood portraits followed by his career timeline.

Explore your home for pictures in pattern

By A. L. (WHITEY) SCHAFER Portrait Photographer, Paramount Studios “Whitey” Schafer is a pioneer among Hollywood’s still photographers. Starting 22 years ago as a laboratory worker at Paramount, he was for ten years in charge of portrait, publicity, advertising and production still photography for Columbia Pictures. Now he is back at Paramount, in charge of all still photography and directing the work of the same laboratory where he started as a boy. He specializes in “pattern pictures” such as the accompanying ones of Ann Rooney and Lynda Gray.

The man behind the lens, whether he be a professional or an amateur, sees life in terms of pictures. Since many of us are going to spend more time at home from now on, more of our pictures will have home settings. Why not make the best of the situation by getting interesting home patterns into your photographs? If you follow the suggestions I’ve found valuable in my studio work, you can build a collection of pictures that will not only portray your family and friends more interestingly, but will, in their settings, afford intimate glimpses of your home as well.

Vera Zorina by A L “Whitey” Schafer
1942. Vera Zorina, star of ballets, stage and film musicals. Photo by A L “Whitey” Schafer. Read more.

Any background other than a blank wall resolves itself into a pattern of lines or masses. Where in the home will you find interesting patterns? In the woodwork of a door, and its framework; in the brick sidewalk and the flagstones of your patio; in floor coverings, particularly rugs with strong markings; in chairs and lamp standards and iron grill work; in the grape arbor, a shade tree, the picket fence. Two simple rules will serve as your guide:

1. Look for interesting line.

2. Do not shoot into “open” background, such as a plain wall.

Both rhythm and contradiction will provide interest. For example, lower the camera and you elongate a full-length figure. Have your subject lean away from the perpendicular when the design is rectangular to break up parallel lines, and so get a contradictory line between the center of attraction and the background. These points are well illustrated in the accompanying pictures.

There is one important exception to the second rule. You may safely photograph a girl in a pretty costume against a plain wall, for here interest centers in the girl and her garb. In general, though, it is the background that makes your pictures.

Any feminine wardrobe will include more than one costume with interesting pattern – a peasant dress, for example. Have your subject stand against the wall, hold or pin the dress up by the hem so as to frame her head and shoulders like a fan, turn one shoulder toward the camera, and you’ll get a picture to be cherished. Unless you have a portrait attachment, you must be content with a waist figure. In enlarging, though, bleed the dress off the edges of the print, thus creating a feeling of endless design.

How should you shoot for close-ups, medium figures or long shots? Does a door call for a medium figure and the mantel a full figure? Which odd corner holds promise of a beautiful composition?

Suppose we examine some concrete cases. The ideas they suggest undoubtedly will point the way to parallel possibilities in your own home.

Barbara Stanwyck by A L “Whitey” Schafer
1943. Barbara Stanwyck in Double Indemnity. Photo by A L “Whitey” Schafer. Read more.

Consider the front door, or perhaps the dining-room door. It may be paneled, or perfectly plain with handsomely grained wood. You’ll agree, I am sure, that the form and pattern of the door are interesting; they’re doubly so when sister or mother consents to pose. Again let us ask your subject to stand with one shoulder turned toward the camera. (If she stands straight on, her head will appear disproportionately small.) Place the camera at shoulder level – certainly no lower than the bust line.

“Four walls do not a prison make,” but four sides of the door casing certainly will imprison your subject. So, either on the negative or when enlarging, crop so that the casing does not frame the picture. Let the panel bleed off the edges.

That’s not an inflexible rule, of course. Some doors have interesting moldings or casings. When including this framework, to avoid the feeling of imprisonment, tip the camera opposite to the line of your subject’s figure. If she leans to the right, tilt the camera to the left. By this means, the normally horizontal and perpendicular lines of the doorway will both frame the center of interest at an interesting angle and enhance the line of the figure.

Have you ever thought of a wall, a simple, unadorned expanse of plaster, as part of your home worth photographing? It can be, if you add interesting shadows. Some of the most effective portraits I have taken are medium shots photographed against such a background. Place your subject directly against the wall, turn one shoulder toward the camera and arrange a single key light high enough to cast a butterfly shadow under the nose so long as almost to reach the lip. No matter which way he or she faces, to avoid the illusion of a crooked nose the light must be cast to run the shadow directly down, and not even a trifle side-ways. The single-source light will cast shadows along the wall, bringing out the relief that makes the picture. No back light is needed here.

Rugs, particularly those bearing a single predominant figure against an open or lightly figured field, offer interesting opportunities. They may be hung against a wall or left on the floor. In the first case, be sure to place the figure high enough so it doesn’t conflict with the head of your subject. It’s a good plan to make this a medium shot, placing the subject in one lower corner, with the figure running out of the opposite upper corner. If you wish to avoid an unsightly shadow and focus attention upon the subject, place her about three feet in front of the rug. Thus, the background will be slightly out of focus.

A slightly different procedure applies when the rug is left on the floor. Now you’ll shoot down from an elevation of about 5’, tilting the camera so that the figure comes diagonally across the plate. Make sure your subject’s head is closer to the camera than her feet.

Mary Lou Dix by A L “Whitey” Schafer
1935. Mary Lou Dix, the epitome of the svelte Art Deco look. Photo by A L “Whitey” Schafer. Read more.

Remember my warning not to shoot into open background. That means, simply, that with such exceptions as costumes against bare walls, the background pattern and foreground objects should balance the picture both as to width and depth. Virtually any piece of furniture may be used in the foreground, such as a sofa or an upended chair. These natural props not only solve the problem of the straying hand by giving it a resting place; they also keep the resulting picture out of the stereo-typed class.

Lean an occasional table on its side, for example, and frame a head in the center of the top. Use a low setup, shooting up to get a feeling of distance. The possibilities with furniture are limitless. A few trials will show you the way.

What may you find of interest outdoors? Lattice work, vines, tree branches … pictures are everywhere. Let’s make them different. The latticed arbor, for instance. Don’t simply take a straight shot, but angle the lattice to the boundaries of the negative. If the sun is shining directly through the lattice, try for a silhouette, making sure none of the rays strike the lens.

A human figure will improve the picture, and yet preserve the pattern. In this case, while the lattice will give you a bolder pattern as a result of contrast, you should expose for the subject rather than for the background.

I have left until last the most prized and usually the most poorly conceived picture of all. That’s the family portrait. Don’t stand all your subjects in a single row, some in shadow and some in the sun, say “look at the camera,” and shoot. Do take time to arrange them against an interesting background, perhaps the climbing rose against the living room. Break the straight line by having some sit and others stand, one turned right and another left, some slightly farther from the camera than others. Get them to talk until they relax, and when they seem to be interested in each other rather than in that box at your finger, press the trigger.

A L “Whitey” Schafer – Hollywood portraits

These days, the likes of George Hurrell and Clarence Sinclair Bull garner most of the attention. A L “Whitey” Schafer, by contrast, is a name unfamiliar to all but the cognoscenti. He barely gets a mention in John Kobal’s book The Art of the Great Hollywood Photographers. One reason for the neglect could be the relative brevity of his career, curtailed by his early death

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Dolly Haas

Dolly Haas

1936. Dolly Haas made her movie debut age 10 in Germany, the country of her birth. With the rise of...

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Dolores del Rio

Dolores del Rio

1937. Dolores del Rio was one of Hollywood's most important silent-movie actresses and one of its first Latin stars. Her...

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Doris Nolan

Doris Nolan

1938. Doris Nolan’s career as an actress oscillated between the stage and screen. Her most notable movie appearance was as...

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Joan Perry

Joan Perry

1938. Joan Perry was a model when, dancing with an escort in New York's Central Park Casino, she caught the...

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Fay Wray

Fay Wray

1940. Fay Wray screamed her way into movie history as the apple of King Kong's eye. Although she made about...

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Ann Miller

Ann Miller

1941. Ann Miller was the leading female tap dancer in Hollywood musicals of the 1940s and ’50s, with a reputed...

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Veronica Lake

Veronica Lake

1944. Veronica Lake’s trademark peek-a-boo hair-do (a cascade of golden tresses that fell forward to obscure one heavy-lidded eye) motivated...

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Ann Savage

Ann Savage

1944. Ann Savage was best known for her role as Vera, one of the most hellish femmes fatales in the...

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Ann Richards

Ann Richards

1946. Shirley Ann Richards kicked off her career in a series of 1930s Australian films before moving to Hollywood to...

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Dorothy Lamour

Dorothy Lamour

1947. Dorothy Lamour was one of the four most popular pin-ups of World War II (along with Betty Grable, Lana...

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Looking at the images on this page, his most distinctive trait seems to be the tilt at which he regularly puts his camera. Even when he’s not employing that technique, there’s often a strong diagonal element to the composition achieved via the lighting or the pose of his sitter. And as his article suggests, he’s not afraid to use backgrounds to add drama and interest, whether via props or projection.

Does he succeed in realistically capturing his sitters’ characters? Well, that was probably a tall order, given the studios’ requirement for glamour rather than personality. The closest he comes here is probably the portrait of Doris Nolan – the hint of a smile that plays around her eyes and lips suggests a mischievous sense of humour.

At his best, as in the photos of Rita Hayworth, Mary Lou Dix, Janet Blair, Dolly Haas, Joan Perry, Fay Wray and Ann Miller, A L “Whitey” Schafer proved a master of his profession, well up to the task of helping his employers turn aspiring actresses into movie icons.

Rita Hayworth by A L “Whitey” Schafer
1942. Rita Hayworth vamps it up. Photo by A L “Whitey” Schafer. Read more.

A L “Whitey” Schafer – career timeline

1902. Born in Salt Lake City.

Around 1917. Moves with his family to Hollywood.

1921. Joins Famous Players-Lasky to work in the stills laboratory, processing prints.

1923. Joins the Thomas Ince Studio, where he shoots stills and occasionally appears in movies. In a 1948 Popular Photography article he recalls, “That was in the days when everybody on the lot was called on to act at times. When we weren’t shooting pictures, we were doing “walk-ons.”

1932. Moves to Columbia.

1935. Succeeds William Fraker (father of “Bud” Fraker) as head of Columbia’s stills photography department.

1941. Replaces Eugene Robert Richee as head of Paramount’s stills photography department.

1951. Dies, age 49, when a stove aboard a yacht explodes as he tries to help the owner light it.

Want to know more about A L “Whitey” Schafer?

The best source of information I’ve found is Mary Mallory / Hollywood Heights — A. L. “Whitey” Schafer Simplifies Portraits. For more photos by A L “Whitey” Schafer, take a look at The Red List. The full article in Popular Science is available via Google Books (you’ll find it on pages 144f).

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Filed Under: Photographers, Stars Tagged With: A L Whitey Schafer, Ann Miller, Ann Richards, Ann Savage, Barbara Stanwyck, Dolly Haas, Dolores del Rio, Doris Nolan, Dorothy Lamour, Fay Wray, Janet Blair, Joan Perry, Lilli Marlowe, Mary Lou Dix, Rita Hayworth, Veronica Lake

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