Gowns by Irene

A brief birthday tribute to a costume-design great

The Siren hasn’t been around as much as she should, so here are a few words and a handful of images dedicated to someone she very much admires: Irene Maud Lentz, credited as "Irene" during her career as one of Hollywood's great costume designers. She was born this day, December 8, in 1901, in Montana. (Irene once told her friend Doris Day that she had been in love with fellow Montanan Gary Cooper for many years, but any lasting relationship was not to be.)

Irene did a lot of period films, including Meet Me in St. Louis (1944), for which she put Judy Garland in one of the most famous gowns of the superstar’s career.

Incredibly, Irene wasn’t nominated for an Oscar that year. Her two nods were for Best Costume Design, Black-and-White, for the forgotten B.F.'s Daughter (1948)—at least, I’ve forgotten it, you maniacs probably have not—and Best Costume Design, Color for Midnight Lace (1960). That last saw Irene coming out of retirement to design the wardrobe as a favor to her dear friend Doris Day. Her touch was still evident.

I’d like to focus just a little on Irene’s non-period designs. A "Gowns by Irene" or “costume supervisor” credit guaranteed that an actress would be dressed appealingly, and always in character. Let’s start with an absolute honey: Lucille Ball's show-stopping pink evening gown for Dubarry Was a Lady (1943). Irene was a master of draping. Look at the flow of that cape.

Next, a still that shows the phenomenal neck detail that was covered up by the dramatic cape. Look at how it frames Lucy’s face like a well-placed light. I really don't think Lucy ever wore another ensemble that so perfectly paid tribute to her coloring and her flashy, you-will-notice-me-right-now persona.

Feast your eyes on Lana Turner in The Postman Always Rings Twice (1946). I am not one of those who eye-rolls this noir from not-very-noir MGM, by the way. I love it—it’s about star power, baby, and John Garfield’s devastating sex appeal, and his chemistry with Lana. And, drum roll, everybody BOW—it’s about Lana's entrance, right here, which Irene ensured would be one of the most memorable in all of 1940s film. The cardiac-inducing, blinding-white shorts, matching top, turban, and heels adds up to the best-known outfit Irene ever put on an actress.

For a bit of variety, and because I adore her, here is Jean Arthur in one of the slightly frumpy, but nevertheless cute dresses she wears as a union-organizing sales assistant in 1941's delicious The Devil and Miss Jones. (Note the AND in the title, pretty please don't bring up the other one.)

Last, a publicity still showing the full glory of Claudette Colbert's lamé gown in Midnight (1937), a fabric and silhouette Irene loved and used earlier for the notably chic Constance Bennett in Topper.

Irene eventually left the studios to open her own design house, where her work was highly regarded. But her personal life detoured into a broken marriage and alcoholism. Her eventual death by suicide, in 1962, is a sad and well-known story. The excellence of Irene's work seems to be less well-known. Greg LaVoi told the L.A. Times in 2014, as he prepared to revive Irene’s fashion line, “She was the least best-known costume designer. Edith Head had a great PR person. Irene was shy and quiet. Where Edith succeeded was in her personality. Where Irene succeeded was in her talent.”