Rose Dolores by Frieda Rieß

Frieda Gertrud Rieß :: Die kühle und distanzierte Erscheinung. Die selbstbewusste und kluge Frau. [The cool and distant appearance. The confident and smart woman] Mrs. Tudor Wilkinson. Scherl’s Magazin, Band 4, Heft 11, November 1928

From : Die persönliche Note im Gesicht der modernen Frau • The personal touch on the face of the modern woman • Scherl’s Magazin, Band 4, Heft 11, November 1928.

Mrs. Tudor Wilkinson, born Kathleen Mary Rose (1893-1975), known as Dolores or Rose Dolores started to work for the fashion designer Lucy, Lady Duff-Gordon around 1910. During the First World War, Duff-Gordon’s focus shifted to her New York office which she had opened in 1910. For her New York fashion shows she imported her own models from England, although Dolores was not among the first she brought over. The shows became so popular that she had to start holding them in a theater. It was probably at one such event around 1916 that Florenz Ziegfeld and his wife Billie Burke discovered Duff-Gordon’s designs and her model Dolores. Ziegfeld was enraptured by Dolores and the luxurious spectacle of the show and Burke ordered two of Duff-Gordon’s creations. Soon, Duff-Gordon was making costumes for Ziegfeld’s theatrical productions, the Ziegfeld Follies.

Ziegfeld decided to base a scene in his next Follies on one of Duff-Gordon’s fashion shows and to use Duff-Gordon’s girls to model the clothes. Dolores made her first appearance for Ziegfeld in the Ziegfeld Follies of 1917 in which she played the Empress of Fashion. In Midnight Frolic of 1919, Dolores played the part of The White Peacock in the Tropical Birds number (wearing the iconic peacock costume).

Rose Dolores was called “the loveliest showgirl in the world”. She had a laconic and androgynous beauty, and a haughty demeanor on stage that had been cultivated by Duff-Gordon and was naturally aided by Dolores’ height. Dolores, like the other former mannequins, was only required to walk and pose when on stage. It was said that she never smiled during an appearance. It was also said that Duff-Gordon had trained her to act like a Duchess. 

Diana Vreeland commented, “I remember his [Ziegfeld’s] girls so vividly. Dolores was the greatest of them – a totally Gothic English beauty. She was very highly paid just to walk across the stage – and the whole place would go to pieces. It was a good walk I can tell you – it had such fluidity and grace. Everything I know about walking comes from watching Ziegfeld’s girls.”

In 1923, Dolores married the St. Louis art collector Tudor Wilkinson in Paris and retired from the stage. After her marriage, Dolores adopted the severe masculine style of dress and hair popular at that time, appearing in Eve, The Lady’s Pictorial in March 1925 [see picture below] in a suit jacket and tie. [partially quoted from wikipedia]

Mrs. Tudor Wilkinson. Published in : Eve: The Lady’s Pictorial, March 1925. Retrieved from: Laura L. Doan: Fashioning Sapphism. The origins of a modern English lesbian culture (published 2001) @ internet archive

Trude Hesterberg in Wilde Bühne

Frieda G. Riess :: Actress and singer Trude Hesterberg (1892-1967). Portrait in the cabaret ‘Wilde Bühne’, dressed in a long dress, 1922. | src Getty Images

Margo Lion, cabaret artist, 1923

Frieda Riess :: Portrait of cabaret artist Margo Lion singing the couplet ‘Die Linie der Mode’ in the Wilde Bühne in Berlin, 1924. Music by Mischa Spoliansky, Text: Marcellus Schiffer | src Getty Images
Frieda Riess :: Portrait of cabaret artist Margo Lion singing the couplet ‘Die Linie der Mode’ in the Wilde Bühne in Berlin, 1924. Music by Mischa Spoliansky, Text: Marcellus Schiffer | src Getty Images
Frieda Rieß:: Margo Lion singing the couplet ‘Die Linie der Mode’ in the Wilde Bühne, Berlin, 1924. Music by Mischa Spoliansky, Text: Marcellus Schiffer | src Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Frieda Rieß:: Margo Lion singing the couplet ‘Die Linie der Mode’ in the Wilde Bühne, Berlin, 1924. Music by Mischa Spoliansky, Text: Marcellus Schiffer | src Marcellus Schiffer und Margo Lion Archiv at Akademie der Künst, Berlin
Atelier Eberth :: Margo Lion, cabaret artist and actress (1899-1989). Portrait singing the couplet 'Die Linie der Mode' in the Wilde Bühne in Berlin. Published in Berliner Illustrierte Zeitung BIZ 44/1923. | src Getty Images
Atelier Eberth :: Margo Lion, cabaret artist and actress (1899-1989). Portrait singing the couplet ‘Die Linie der Mode’ in the Wilde Bühne in Berlin. Published in Berliner Illustrierte Zeitung BIZ 44/1923. | src Getty Images

Maria Warhuus as Lotus, 1920

Frieda G. Riess :: Ballet dancer Maria Warhuus as Lotus, 1920 (full length portrait). Photographer: Atelier Frieda G. Riess (Photo by Frieda Riess). | src Getty Images

Grit Hegesa, um 1920

Frieda Gertrud Riess :: Die Tänzerin Grit Hegesa, um 1920. | src Die Riess exhibit at Das Verborgene Museum
Frieda Gertrud Riess :: Die Tänzerin Grit Hegesa, um 1920. | src Die Riess exhibit at Das Verborgene Museum
Frieda Gertrud Riess :: Die Tänzerin Grit Hegesa, um 1920. | src Die Riess exhibit at Das Verborgene Museum
Frieda Gertrud Riess :: Die Tänzerin Grit Hegesa, um 1920. | src Die Riess exhibit at Das Verborgene Museum

Rosamund Pinchot, 1927-1930

Frieda Gertrud Riess :: Portrait of actress Rosamond Pinchot (1904-1938), 1927. | src Getty Images
Frieda Gertrud Riess :: Portrait of actress Rosamond Pinchot (1904-1938), 1927. | src Getty Images
Frieda Gertrud Riess :: Rosamund Pinchot, um 1930. | src Das Verborgene Museum
Frieda Gertrud Riess :: Rosamund Pinchot, um 1930. | src Das Verborgene Museum

Lore Sello as ‘Game clock’, 1923

Frieda G. Riess :: Portrait of the dancer Lore Sello in the role of a ‘Game clock’ in the cabaret ‘Die Gondel’, 1923. | src Getty Images

Frieda Riess (selfportrait), 1922

Frieda Gertrud Riess :: Selbstbildnis | Selbstporträt mit Papagei - Aufnahme: Atelier Riess, veröffentlicht in: Die Dame, Heft 5. 50.Jg., 1922, S. 5. | src MoMA and Das Verborgene Museum
Frieda Gertrud Riess :: Selbstbildnis | Selbstporträt mit Papagei – Aufnahme: Atelier Riess, veröffentlicht in: Die Dame, Heft 5. 50.Jg., 1922, S. 5. | src MoMA and Das Verborgene Museum
DIE RIESS | Publikation zur Ausstellung Fotografisches Atelier und Salon in Berlin 1918-1932. Hrsg. Marion Beckers, Elisabeth Moortgat für Das Verborgene Museum (2008) | Publication for the exhibition Photographic Studio and Salon in Berlin 1918-1932. Edited by Marion Beckers, Elisabeth Moortgat for Das Verborgene Museum
DIE RIESS | Publikation zur Ausstellung Fotografisches Atelier und Salon in Berlin 1918-1932. Hrsg. Marion Beckers, Elisabeth Moortgat für Das Verborgene Museum (2008) | Publication for the exhibition Photographic Studio and Salon in Berlin 1918-1932. Edited by Marion Beckers, Elisabeth Moortgat for Das Verborgene Museum

Javanese nude, 1920s

Frieda Gertrud Riess :: Javanese-French nude, 1920s. Original photogravure printed in 1925. | src vintageads on eBay
Frieda Gertrud Riess :: Javanese-French nude, 1920s. Original photogravure printed in 1925. | src vintageads on eBay
Frieda Riess :: Mischling aus Java (Vater aus Frankreich). Editiert und gedruckt 1925 von der Gesellschaft zur Verbreitung klassischer Kunst, Berlin. | src artografie on eBay
Frieda Riess :: Mischling aus Java (Vater aus Frankreich). Editiert und gedruckt 1925 von der Gesellschaft zur Verbreitung klassischer Kunst, Berlin. | src artografie on eBay

Berlinerin Akt, um 1925

Frieda Gertrud Riess :: Berlinerin Akt, um 1925. Heliogravüre. Editiert und gedruckt 1925 von der Gesellschaft zur Verbreitung klassischer Kunst, Berlin. | src artografie on eBay
Frieda Gertrud Riess :: German Nude. Photogravure from Natur und Kultur Das Weiss, 1925. | src liveauctioneers