Fashion History

Helen Rose (1904 – 1985) studied in Chicago before journeying to Los Angeles in 1929. She started with Ice Follies costumes and designed musical sequences for Fox under the direction of Fanchon and Marco. She went to Twentieth Century Fox in 1943 and signed with MGM in 1944.

Rose stayed with MGM until the 1960s. She was much admired by the stars of the 1950s, especially the younger women she dressed while Irene tended to the more established players. She was considered a strong designer for musicals which had become MGM’s focus. Rose’s best film work was fashion oriented rather than historically accurate. As a film designer and a fashion designer, she often used the same fabrics for both, despite the fabric being incorrect for period films. Rose’s wedding dresses became a must for the likes of Elizabeth Taylor, Ann Blyth, Jane Powell, Debbie Reynolds, and Pier Angeli among others.

Like Adrian and Irene before her at MGM, Rose often adapted her film designs for ready to wear, even as unlikely a candidate as a Roman Cape from Quo Vadis in 1951. This hooded coat sold for $40 in a fabric of acetate, rayon and Orlon. She also adapted her sketches from The Merry Widow and Escape from Fort Bravo, but they were apparently never produced. One of her most influential film designs was the chiffon cocktail dress worn by Elizabeth Taylor in Cat on a Hot Tin Roof. This dress only had 50 orders at her first showing .

Irene (1907 -1962) Born in South Dakota, Irene Lentz made her way to Southern California by 1927 where she started in film as a dress extra. Irene studied at the Wolfe School of Design, and opened a dress shop, Irene of California, on the campus of UCLA at the urging of her husband Dick Jones. Attracting the notice of such stars as Lupe Velez and Dolores del Rio, Irene caught on and became a success.

She closed the shop at the death of her husband. After spending time in Paris, Irene returned to California and opened a second shop in 1933, first across from the Hollywood Bowl, then on Sunset Boulevard. Her windows gained the notice of Bullock’s-Wilshire, and she went under contract to them as the head of their Costume Design Studio where the duties were to design fashions for stars to wear in films.

Tina Leser (1910 – 1986) was born Christina Wetherill Shillard-Smith. She was the daughter of an affluent Philadelphia stockbroker and his artist wife. The family traveled widely and, as a young child, Tina visited Asia, Europe and Africa and, for a time, actually lived in India. When it came time to choose a career, she settled on art school, and first attended the Pennsylvania Academy of Fine Arts, and then the Sorbonne, in Paris.

In 1931, at the age of 21, Tina married Curtin Leser, and the two of them moved to Honolulu, Hawaii. It was here that Tina Leser began her career in fashion. She opened a shop in 1935, in which she sold clothing that she designed. Leser used native Hawaiian and imported Filipino fabrics to construct sportswear, day wear and gowns. She then worked with a process to hand-block designs onto sailcloth. As an artist, she often hand-painted a fabric to order. A customer might order a special skirt with the family pet hand-painted on it.

In 1940, Tina Leser went to New York on a buying trip and to try and sell her designs. Partly through the influence of Harper’s Bazaar editor, Carmel Snow, she placed an order with Saks for 500 garments. She continued to live and work in Honolulu, but in 1941 she decided to open a business in New York. She closed her Honolulu store in 1942 after the bombing of Pearl Harbor, and moved to New York. There she ran her company until the next year, when she became the designer at Edwin H. Foreman. It was at Foreman that Tina Leser developed the international style for which she became famous.