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Irene Maud Lentz (December 8, 1901 – November 15, 1962),[1] also known mononymously and professionally as Irene, was an American actress turned fashion designer and costume designer. Her work as a clothing designer in Los Angeles led to her career as a costume designer for films in the 1930s. Lentz also worked under the name Irene Gibbons.[2]
 | This article needs additional citations for verification. (April 2009) |
Irene Lentz | |
|---|---|
_-_2.jpg) Irene Lentz, Edythe Chapman, and Charles Ray in A Tailor-Made Man (1922) | |
| Born | December 8, 1901 Baker, Montana, U.S. |
| Died | November 15, 1962 (aged 60) Los Angeles, California, U.S. |
| Resting place | Forest Lawn Memorial Park |
| Other names | Irene Gibbons |
| Occupation(s) | Costume designer, fashion designer, actress |
| Known for | Designing costumes for motion picture actors |
| Label | Irene Inc. |
| Spouse(s) | F. Richard Jones Eliot Gibbons |
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Born in Baker, Montana to Emil Lents and Maud Walters, Lentz started out as an actress under her birth name, appearing in secondary roles in silent films beginning with Mack Sennett in 1921. She played ingénue parts opposite Sennett's leading comedians, Ben Turpin and Billy Bevan. Lentz was directed in her first film by Sennett's production chief, F. Richard Jones; their professional relationship matured into a personal one. They had been married for less than a year when Jones succumbed to tuberculosis in 1930.
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Lana Turner in The Postman Always Rings Twice (1946)
Doris Day in Midnight Lace (1960)
Lentz had been taught sewing as a child and with a flair for style, she decided to open a small dress shop. The success of her designs in her tiny store eventually led to an offer from the Bullocks Wilshire luxury department store to design for their Ladies Custom Salon which catered to a wealthy clientele including a number of Hollywood stars.
Lentz's designs at Bullocks gained her much attention in the film community and she was contracted by independent production companies to design the wardrobe for some of their productions. Billing herself simply as "Irene", her first work came in 1933 on the film Goldie Gets Along, featuring her designs for star Lili Damita. In the 1936 Mae West vehicle Go West, Young Man she was credited as Irene Jones. However, her big break came when she was hired to create the gowns for Ginger Rogers for her 1937 film Shall We Dance with Fred Astaire. This was followed by more designs in another Ginger Rogers film as well as work for other independents such as Walter Wanger Productions, Hal Roach Studios as well as majors such as RKO, Paramount Pictures and Columbia Pictures. During the 1930s, Irene Lentz designed the film wardrobe for leading ladies such as Constance Bennett, Hedy Lamarr, Joan Bennett, Claudette Colbert, Carole Lombard, Ingrid Bergman, and Loretta Young among others. She "is generally regarded as the originator of the dressmaker suit"[1] that was popular in the late 1930s.
Through her work, Lentz met and married short story author and screenwriter Eliot Gibbons, brother of multi-Academy Award winning Cedric Gibbons, head of art direction at MGM Studios. Despite her success, working under the powerful set designer Cedric while being married to his brother Eliot was not easy.[citation needed] Irene confided to her close friend Doris Day that the marriage to Eliot was not a happy one.[a] Generally regarded as the most important and influential production designer in the history of American films, Cedric Gibbons hired Lentz when gown designer Adrian left MGM in 1941 to open his own fashion house. By 1943 she was a leading costume supervisor at MGM, earning international recognition for her "soufflé creations" and is remembered for her avant-garde wardrobe for Lana Turner in The Postman Always Rings Twice (1946).
In 1950, Lentz left MGM to open her own fashion house. After Lentz was out of the film industry for nearly ten years, Doris Day requested her services for the production Midnight Lace (Universal, 1960). The following year she did the costume design for another Day film, Lover Come Back (1961), and during 1962 worked on her last production, A Gathering of Eagles (released in 1963).
In 1962, after Doris Day noticed that Lentz seemed upset and nervous, Lentz confided in her that she was in love with actor Gary Cooper and that he was the only man that she had ever loved.[3][b] Cooper had died in 1961.
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- Nomination for the Academy Award for Best Costume Design, Black-and-White for B.F.'s Daughter (1948)[4]
- Nomination for the Academy Award for Best Costume Design, Color for Midnight Lace (1960)[4]
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On November 15, 1962, three weeks before her sixty-first birthday, Lentz took room 1129 at the Knickerbocker Hotel, Los Angeles, checking in under an assumed name. She jumped to her death from her bathroom window.
She had left suicide notes for friends and family, for her ailing husband, and for the hotel residents, apologizing for any inconvenience her death might cause. Per her wishes, she is interred next to her first husband, director F. Richard Jones, at the Forest Lawn Memorial Park Cemetery in Glendale, California.[5]
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In 2005, Irene Lentz was inducted into the Costume Designers Guild's Anne Cole Hall of Fame.[4]
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| Year | Title | Notes |
|---|---|---|
| 1933 | Goldie Gets Along | Costume designer, uncredited |
| 1933 | Flying Down to Rio | Costume designer, uncredited |
| 1937 | Shall We Dance | Gowns for Ginger Rogers |
| 1937 | Vogues of 1938 | Gowns for Joan Bennett |
| 1938 | You Can't Take It With You | Gowns for Jean Arthur |
| 1938 | Topper Takes a Trip | Gowns for Constance Bennett |
| 1938 | Vivacious Lady | Gowns for Ginger Rogers |
| 1939 | In Name Only | Gowns for Carole Lombard |
| 1939 | Intermezzo: A Love Story | Costume designer for Ingrid Bergman |
| 1939 | Midnight | Gowns for Claudette Colbert |
| 1940 | Green Hell | Gowns for Joan Bennett |
| 1940 | Seven Sinners | Gowns for Marlene Dietrich |
| 1941 | That Uncertain Feeling | Gowns for Merle Oberon |
| 1941 | Mr. & Mrs. Smith | Gowns for Carole Lombard |
| 1941 | To Be or Not to Be | Gowns for Carole Lombard |
| 1942 | Take a Letter, Darling | Gowns for Rosalind Russell |
| 1942 | You Were Never Lovelier | Gowns for Rita Hayworth |
| 1942 | The Palm Beach Story | Costume designer |
| 1943 | No Time for Love | Gowns for Claudette Colbert |
| 1943 | Girl Crazy | Costume supervisor |
| 1943 | The Youngest Profession | Costume supervisor |
| 1944 | Gaslight | Costume designer |
| 1944 | Meet Me in St. Louis | Costume supervisor |
| 1944 | Bathing Beauty | Costume supervisor |
| 1945 | The Picture of Dorian Gray | Costume supervisor |
| 1945 | Week-End at the Waldorf | Costume supervisor |
| 1946 | The Harvey Girls | Costume supervisor |
| 1946 | Ziegfeld Follies | Costume designer/supervisor, uncredited |
| 1947 | Lady in the Lake | Costume supervisor |
| 1947 | Cass Timberlane | Costume designer |
| 1948 | Easter Parade | Costume designer (women) |
| 1948 | The Pirate | Costume supervisor |
| 1949 | The Barkleys of Broadway | Costume designer |
| 1949 | Neptune's Daughter | Costume designer |
| 1950 | Shadow on the Wall | Costume designer |
| 1960 | Midnight Lace | Gowns for Doris Day |
| 1961 | Lover Come Back | Gown for Doris Day |
| 1963 | A Gathering of Eagles | Costume designer |
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