Natacha Rambova

Natacha Rambova was an American dancer, costume designer, art director, and Egyptologist. Rising to prominence in the early 1920s, she became one of Hollywood's first women to exert significant creative control behind the camera, particularly through her collaborations with silent film actor Rudolph Valentino, whom she married in 1923.
Trained in ballet and the visual arts, Rambova began her career dancing with Russian ballet choreographer Theodore Kosloff before moving into stage and film design. She gained recognition for her work with director Alla Nazimova, contributing to a series of visually daring productions noted for their modernist and Art Deco aesthetics. As Valentino's wife and creative partner, Rambova played a central—if controversial—role in shaping his screen image, serving as costume designer, art director, and consultant on several of his films. Her emphasis on stylized design, historical authenticity, and European modernism marked a departure from conventional Hollywood aesthetics of the period and proved both influential and controversial.
Following her divorce from Valentino in 1926, Rambova largely withdrew from the film industry and opened a couture boutique in New York. During the Great Depression, she relocated to Europe, where she married a Spanish nobleman. In her later years, she became a respected Egyptologist, collaborating with scholars and co-authoring works on ancient Egyptian history and mythology. She died in 1966 in California of a heart attack while working on a manuscript examining patterns within the texts in the Pyramid of Unas.

Early life

Rambova was born Winifred Kimball Shaughnessy on January 19, 1897, in Salt Lake City, Utah. Her father, Michael Shaughnessy, was an Irish Catholic from New York City who fought for the Union during the American Civil War and then worked in the mining industry. Her mother, Winifred Shaughnessy, was the granddaughter of Heber C. Kimball, a member of the first presidency of the Church of Jesus Christ of Latter-day Saints, and was raised in a prominent Salt Lake City family. At her father's wishes, Rambova was baptized a Catholic at the Cathedral of the Madeleine in Salt Lake City in June 1897, though she later was baptized a member of the Church of Jesus Christ of Latter-day Saints at the urging of her mother at age eight.
Rambova's parents had a tumultuous relationship: her father was an alcoholic, and often sold her mother's possessions to pay off gambling debts. This led her mother to divorce Shaughnessy in 1900 and relocate with Rambova to San Francisco. There, she remarried to Edgar de Wolfe in 1907. During her childhood, Rambova spent summer vacations at the Villa Trianon in Le Chesnay, France with Edgar's sister, the French designer Elsie de Wolfe. The marriage between her mother and Edgar de Wolfe was short-lived, and she again remarried, this time to millionaire perfume mogul Richard Hudnut. Rambova was adopted by her new stepfather, making her legal name Winifred Hudnut. Rambova was given the nickname "Wink" by her aunt Teresa to distinguish her from her mother because of their shared name. She also sometimes went by Winifred de Wolfe, after her former step-aunt Elsie, with whom she maintained a relationship after her mother's divorce from Edgar.

The Imperial Russian Ballet

A rebellious teenager, Rambova was sent by her mother to Leatherhead Court, a boarding school in Surrey, England. In her schooling, she became fascinated by Greek mythology, and also proved especially gifted at ballet. After seeing Anna Pavlova in a production of Swan Lake in Paris with her former step-aunt Elsie, Rambova decided she wanted to pursue a career as a ballerina. Her family had encouraged her to study ballet purely as a social grace, and were appalled when she chose it as her career. Her aunt Teresa, however, was supportive and took Rambova to New York City, where she studied under the Russian ballet dancer and choreographer Theodore Kosloff in his Imperial Russian Ballet Company in 1914. While dancing under Kosloff, he suggested that she adopt the Russian-inspired stage name Natacha Rambova. Standing at, Rambova was too tall to be a classical ballerina, but was given leading parts by the then-32-year-old Kosloff, who soon became her lover.
Rambova's mother was outraged upon discovering the affair as Rambova was 17 years old at the time, and she tried to have Kosloff deported on statutory rape charges. Rambova ran away to Bournemouth, England, to stay with Kosloff's wife Maria "Alexandria" Baldina, under an assumed role as a governess for his daughter while the matter was contested. In 1916, during a San Francisco engagement of Kosloff's Imperial Russian Ballet, Rambova's mother met with Kosloff and agreed to withdraw all charges, permitted Rambova to continue dancing with the company, and pledged financial support for costumes and sets in exchange for her daughter's return and a reconciliation. After a year in hiding, Rambova reunited with her mother in Chicago before rejoining the company in Omaha, where she shared top billing with Kosloff. She later became disillusioned upon learning that Kosloff had maintained relationships with multiple women in the company during her absence, though her determination to establish herself as an artist tempered her sense of betrayal and disappointment.

Career

Costume and set design

In 1917, Kosloff was hired by Cecil B. DeMille as a performer and costume designer for DeMille's Hollywood films, after which he and Rambova relocated from New York to Los Angeles. Rambova carried out much of the creative work as well as the historical research on Aztec culture for Kosloff, and he then stole her sketches and claimed credit for these as his own. After the film's completion, DeMille offered Theodore Kosloff and his assistants further studio work, but they declined in order to continue touring on the Keith-Orpheum circuit. In late 1917, the Imperial Russian Ballet launched its second Los Angeles engagement, highlighted by The Aztec Dance, performed by Natacha Rambova and Kosloff, who wore his costume from the DeMille film. The tour was critically successful and concluded in New York in the spring of 1918.
Shortly thereafter, the Russian Revolution led to the confiscation of Kosloff's Moscow property by the Bolshevik government, resulting in the financial collapse of the Imperial Russian Ballet. A final tour was planned for the 1918–19 season, during which auditions were held nationwide for students to enroll in the Los Angeles dance school established by Kosloff, Rambova, and Vera Fredova at Trinity Auditorium. Maria Gambarelli of the New York Metropolitan Opera replaced Rambova as Kosloff’s principal dance partner, as Rambova increasingly focused on designing costumes and sets for new productions inspired by Tartar themes. Disheartened by Kosloff's financial collapse but not wanting to return home, she nonetheless remained with the company, devoting her efforts to research and design.
Rambova increasingly resented Kosloff for taking credit for the extensive research and design work she undertook in support of his emerging motion-picture career. Although Kosloff was an avid painter, he showed little interest in costume or set design, yet he routinely presented Rambova's completed sketches to DeMille as his own after approving them. Rambova designed costumes for Kosloff's supporting roles in Why Change Your Wife? and Something to Think About.
On DeMille's subsequent production, Forbidden Fruit, a fantasy sequence inspired by Cinderella was assigned jointly to Rambova and Mitchell Leisen. The sequence became the film's most visually striking element. Leisen later credited Rambova for much of the work: "I did some of the clothes for the Cinderella Ball... Natasha Rambova did the others. One of hers was a black dress for the Fairy Godmother that had little electric lights all over the skirt."Around this time, actress Alla Nazimova was taking lessons from Kosloff in preparation for one of her films. As he had previously done with DeMille, Kosloff offered to submit innovative costume and set designs, which resulted in Rambova's work appearing in the dream sequences of Nazimova's film Billions. Rambova subsequently began designing for Nazimova’s next project, an adaptation of Pierre Louÿs's Aphrodite. Rather than presenting the sketches himself, Kosloff asked Rambova to deliver the designs directly to Nazimova. Nazimova responded favorably but requested revisions, and was impressed when Rambova executed the changes immediately in her own hand, making clear that she was the designer responsible for the work. Impressed by both the designs and their creator, Nazimova offered Rambova a position on her production staff as an art director and costume designer, proposing a wage of up to USD $5,000 per picture.
While working on Aphrodite—a project that was never filmed—Rambova used the opportunity to free herself from Kosloff. She chose a weekend to move out of his Franklin Avenue house while Kosloff was away visiting DeMille at his country estate, Paradise. Agnes de Mille, one of Kosloff's students and DeMille's niece, later remarked that his visits there involved social pursuits rather than hunting. Rambova was aware of Kosloff's ongoing affairs and of his sexual relationships with young pupils, factors that prompted her permanent departure. On the morning she planned to leave him, Kosloff returned home unexpectedly, confronted her, and ordered her to unpack. When she refused, he shot with a hunting rifle and the bullet lodged above her knee. Rambova escaped with the help of a housemate, fleeing through a window and reaching a waiting taxi despite her injuries.
Rambova fled to the Metro studio, where Nazimova's Aphrodite was in production. French cinematographer Paul Ivano later recalled that Rambova arrived "in tears, nearly hysterical," adding, "We spent nearly the entire day picking the birdshot out of her leg, as she related how Kosloff had tried to kill her." Despite the severity of the attack, Rambova declined to press charges, believing that the resulting notoriety would damage her reputation and overshadow the beginning of her career as Nazimova's art director. Instead, she chose to suppress the episode. In later years, she explained her injuries by claiming she had been shot and scarred by a jealous ballerina, using the story as an excuse for abandoning dance. Her relationship with Kosloff profoundly affected her: she became determined to conceal her emotions and vulnerabilities behind a carefully maintained air of aloof detachment.

Relationship with Rudolph Valentino

In 1921, Rambova was introduced to actor Rudolph Valentino on the set of Nazimova's Uncharted Seas. She and Valentino subsequently worked together on Camille, a film that was a financial failure and resulted in Metro Pictures terminating their contract with Nazimova. While making the film, however, Rambova and Valentino became romantically involved. Although Valentino was still married to his estranged wife, actress Jean Acker, he and Rambova moved in together within a year, having formed a relationship based more on friendship and shared interests than on emotional or professional rapport. After Valentino's divorce was finalized, they married a few months later on May 13, 1922, in Mexicali, Mexico, an event described by Rambova as "wonderful... even though it did cause many worries and heartaches later." However, the law required a year to pass before remarriage, and Valentino was jailed for bigamy, having to be bailed out by friends. They legally remarried on March 14, 1923, in Crown Point, Indiana.
Both Rambova and Valentino were spiritualists, and they frequently visited psychics and took part in séances and automatic writing. Valentino wrote a book of poetry, entitled Daydreams, with many poems about Rambova. When it came to domestic life, Valentino and Rambova turned out to hold very different views. Valentino cherished Old World ideals of a woman being a housewife and mother, while Rambova was intent on maintaining a career and had no intention of being a housewife. Valentino was known as an excellent cook, while actress Patsy Ruth Miller suspected Rambova didn't know "how to make burnt fudge," although the truth was she did occasionally bake and was an excellent seamstress. A major source of tension in the marriage was that Valentino wanted children, while Rambova did not.
While her association with Valentino lent Rambova a celebrity typically afforded to actors, their professional collaborations showed-up their differences more than their similarities, and she did not contribute to any of his successful films in spite of serving as his manager. In The Young Rajah she designed authentic Indian costumes that tended to compromise his Latin lover image, and the film was a major flop. She also supported his one-man strike against Famous Players–Lasky, which left him temporarily banned from movie work. In the interval, they performed a promotional dance-tour for Mineralava Beauty Products, to keep his name in the spotlight, though when they reached her hometown of Salt Lake City, and she was billed as "The Little Pigtailed Shaughnessy Girl", Rambova was deeply insulted. In 1923, Rambova helped design the costumes for friend Alla Nazimova in Salomé, inspired by the work of Aubrey Beardsley. Beginning in February 1924, she accompanied Valentino on a trip abroad that was profiled in twenty-six installments published in Movie Weekly over the course of six months.
Rambova's later work with Valentino was characterised by elaborate and costly preparations for films that either flopped or never manifested. These included Monsieur Beaucaire, The Sainted Devil, and The Hooded Falcon. By this time, critics and the press were beginning to blame Rambova's excessive control for these failures. United Artists went so far as to offer Valentino an exclusive contract with the stipulation that Rambova had no negotiating power, and was disallowed from even visiting the sets of his films. After this, Rambova was offered $30,000 to create a film of her choosing, which resulted in the production of What Price Beauty?, a drama which she co-produced and co-wrote. Rambova discovered actress Myrna Loy and cast her in the film.
When Rambova and Valentino separated in 1925, she initially dismissed the divorce rumors. "I'm sure this marital holiday will be a good thing for us both. When a husband and wife both are working and both are the possessors of temperaments I think they should have a vacation from each other. Since I've begun making my own pictures we have been drawn more or less apart, and I can't find the time to devote to the home that I used to. My husband is a great lover of home life," she said. In October 1925, Rambova filed for divorce in France, and an acrimonious divorce ensued. She was granted a divorce in Paris on the grounds of abandonment on January 19, 1926.
After the divorce was finalized, Rambova moved on to other ventures: On March 2, 1926, she patented a doll she had designed with a "combined coverlet", and also produced and starred in her own picture, Do Clothes Make the Woman? with Clive Brook. However, the distributor took the opportunity to bill her as 'Mrs. Valentino' and changed the title to When Love Grows Cold; Rambova was horrified by the title change. The film did garner press due to it being Rambova's first screen credit, however. An Oregon newspaper teased before a screening: "Natacha Rambova … So much has been written of this remarkable lady who won and lost the heart of the great Valentino that everyone wants to see her. Tonight is your opportunity to do so."
The film, however, was not well received by critics; a review in Picture Play deemed the film "the poorest picture of the month, or of almost any month, for that matter," adding: "The interiors are bad, the costumes atrocious. Miss Rambova is not well dressed, nor does she film well, in the slightest degree." After its release, Rambova never worked in film, on or offscreen, again. Three months later, Valentino died unexpectedly of peritonitis, leaving Rambova inconsolable, and she purportedly locked herself in her bedroom for three days. Though she did not attend his funeral, she sent a telegram to Valentino's business manager George Ullman, requesting he be buried in her family crypt at Woodlawn Cemetery in the Bronx.

Writing and fashion design

After Valentino's death, Rambova relocated to New York City. There, she immersed herself in several endeavors, appearing in vaudeville at the Palace Theatre and writing a semi-fictional play entitled All that Glitters, which detailed her relationship with Valentino, and concluded in a fictionalized happy reconciliation. She also published the 1926 memoir, Rudy: An Intimate Portrait by His Wife Natacha Rambova, which contains memories of her life with him. The following year, a second memoir was published entitled Rudolph Valentino Recollections, in which she prefaces an addended final chapter by asking that only those "ready to accept the truth" read on; what follows is a detailed letter supposedly communicated by Valentino's spirit from an astral plane, which Rambova claimed to have received during an automatic writing session. While residing in New York, she frequently arranged séances with medium George Wehner, and claimed to have made contact with Valentino's spirit on several occasions. Rambova also appeared in supporting parts in two original 1927 Broadway productions: Set a Thief, a drama written by Edward E. Paramore, Jr., and Creoles, a comedy written by Kenneth Perkins and Samuel Shipman.
In June 1928, she opened an elite couture shop on Fifth Avenue and West 55th street in Manhattan, which sold Russian-inspired clothing that Rambova herself designed. Her clientele included Broadway and Hollywood actresses such as Beulah Bondi and Mae Murray. On opening the shop, she commented: "I'm in business, not exactly because I need the money, but because it enables me to give vent to an artistic urge." In addition to clothing, the shop also carried jewelry, although it is unknown if it was designed by Rambova or imported. By late 1931, Rambova had grown uneasy about the economic situation of the United States during the Great Depression, and feared the country would experience a drastic revolution. This led her to close her shop and formally retire from commercial fashion design, leaving the United States to live in Juan-les-Pins, France in 1932.
On a yacht cruise to the Balearic Islands, she met her second husband Álvaro de Urzáiz, a British-educated Spanish aristocrat. The couple married privately in 1932, with the union not publicly disclosed until 1934. The couple lived together on the island of Mallorca and restored abandoned Spanish villas for tourists, a venture financed by Rambova's inheritance from her stepfather.
It was during her marriage to Urzáiz that Rambova first toured Egypt in January 1936, visiting the ancient monuments in Memphis, Luxor, and Thebes. While there, she met archeologist Howard Carter, and became fascinated by the country and its history, which had a profound effect on her. "I felt as if I had at last returned home," she said. "The first few days I was there I couldn't stop the tears streaming from my eyes. It was not sadness, but some emotional impact from the past – a returning to a place once loved after too long a time." Upon returning to Spain, Urzáiz became a naval commander for the pro-fascist nationalist side during the Spanish Civil War. Rambova fled the country to a familial château in Nice, where she suffered a heart attack at age forty. Soon after, she and Urzáiz separated. Rambova remained in France until the Nazi invasion in June 1940, upon which she returned to New York.

Egyptology and scholarly work

Rambova's interest in the metaphysical evolved significantly during the 1940s, and she became an avid supporter of the Bollingen Foundation, through which she believed she could see a past life in Egypt. Rambova was also a follower of Helena Blavatsky and George Gurdjieff, and she conducted classes in her Manhattan apartment about myths, symbolism, and comparative religion. She also began publishing articles on healing, astrology, yoga, post-war rehabilitation, and numerous other topics, some of which appeared in American Astrology and Harper's Bazaar. In 1945, the Old Dominion awarded Rambova a grant-in-aid of USD $500 for "making a collection of essential cosmological symbols for a proposed archive of comparative universal symbolism." Rambova intended to use her research to generate a book, which she wanted Ananda Coomaraswamy to write, with the principal themes derived from astrology, theosophy, and Atlantis. In an undated letter to Mary Mellon, she wrote:
Rambova's intellectual investment in Egypt also led her to undertake work deciphering ancient scarabs and tomb inscriptions, which she began researching in 1946. Initially, she believed she would find evidence of a connection between ancient Egyptian belief systems and those of ancient American cultures. While researching at the Institut Français d'Archéologie Orientale in Cairo, she met the institute's director, Alexandre Piankoff, with whom she established a rapport based on their shared interest in Egyptology. Piankoff introduced her to his French translation of the Book of Caverns, a royal funerary text, which he was working on at the time. "To my amazement, I found that it contains all the most important esoteric material," Rambova wrote. "I can only compare it to the Coptic Pistis Sophia, the Tibetan Voice of the Silence, and the Hindu Sutras of Patanjali. It is what I have been looking for for years."
Her interest in the Book of Caverns led her to abandon her studies of scarabs, and she began translating Piankoff's French translation into English, an endeavor she felt "was the main purpose and point" of her studies in Egypt. She secured a second two-year grant of US$50,000 through the Mellon and Bollingen Foundations to help Piankoff photograph and publish his work on the Book of Caverns. In the winter of 1949–50, she joined Piankoff and Elizabeth Thomas in Luxor to undertake further studies. In the spring of 1950, the group was given permission to photograph and study inscriptions on golden shrines that had once enclosed the sarcophagus of Tutankhamun, after which they toured the Pyramid of Unas at Saqqara.
After completing the expedition in Egypt, Rambova returned to the United States, where, in 1954, she donated her extensive collection of Egyptian artifacts to the University of Utah's Museum of Fine Arts. She settled in New Milford, Connecticut, where she spent the following several years working as an editor on the first three volumes of Piankoff's series Egyptian Texts and Religious Representations, which was based on the research he had done with Rambova and Thomas. The first volume was The Tomb of Ramesses VI published in 1954, followed by The Shrines of Tut-Ankh-Amon in 1955. During this time, she kept regular correspondence with fellow Egyptologists William C. Hayes and Richard Parker.
For the third volume of Piankoff's series, Mythological Papyri, Rambova contributed her own chapter in which she discussed semiotics in Egyptian papyri. Rambova continued to write and research intensely into her sixties, often working twelve hours per day. In the years prior to her death, she was working on a manuscript examining texts from the Pyramid of Unas for a translation by Piankoff. This manuscript, which exceeds a thousand pages, was donated to the Brooklyn Museum after her death. Two additional manuscripts were also left behind, which are part of Yale University's Yale in Egypt collection: The Cosmic Circuit: Religious Origins of the Zodiac and The Mystery Pattern in Ancient Symbolism: A Philosophic Interpretation.

Later life and death

In the early 1950s Rambova developed scleroderma, which significantly affected her throat, impeding her ability to swallow and speak.
In 1957, Rambova moved to New Milford, Connecticut, and devoted her time to researching a comparative study of ancient religious symbolism, which she continued virtually unabated until her death.
She grew delusional, believing that she was being poisoned, and quit eating, resulting in malnourishment. On September 29, 1965, she was discovered going "berserk" in a hotel elevator in Manhattan. Rambova was admitted to Lenox Hill Hospital, where she was diagnosed with paranoid psychosis brought on by malnutrition.
With her health in rapid decline, Rambova's cousin, Ann Wollen, relocated her from her home in Connecticut to California, in order to help take care of her. There, Rambova was admitted to Methodist Hospital in Arcadia. On January 19, 1966, she was relocated to a nursing home at Las Encinas Hospital in Pasadena. She died there six months later of a heart attack on June 5, 1966, at the age of 69. At her wishes, Rambova was cremated, and her ashes were scattered in a forest in northern Arizona.

Sexuality

Claims that Rambova was bisexual or homosexual date back to at least 1975 when they appeared in Kenneth Anger's notoriously libelous Hollywood Babylon, in which it is written that Rambova claimed to have never consummated her marriage with Rudolph Valentino. This has led some historians to refer to the couple's union as a "lavender marriage." The claim, however, is at odds with the grounds of Valentino's 1922 arrest after the couple's wedding: he was arrested and jailed for consummating the marriage in Palm Springs, California, despite still being legally married to Jean Acker. Discussion of Rambova's sexuality continued to appear in academic and biographical texts throughout the 1980s and beyond.
The basis of the claim is an alleged relationship Rambova had with Alla Nazimova, her friend and peer while Rambova was beginning her career in film design. Similar inferences have been made about others in Nazimova's social circle, including Marlene Dietrich, Eva Le Gallienne, and Greta Garbo.
Whether Rambova was bisexual or homosexual is unclear; some have disputed such claims, including journalist David Wallace, who dismisses it as rumor in his 2002 book Lost Hollywood. Biographer Morris also disputes the claim, writing in his epilogue of Madam Valentino that "the convenient... allegation that Rambova was a lesbian collapses when one scrutinizes the facts." Additionally, a close friend of writer Mercedes de Acosta told Morris that she believed Rambova and Nazimova's relationship was nothing other than platonic. Rambova's friend Dorothy Norman also stated that Rambova had been "displeased" by De Acosta's controversial 1960 autobiography, which implied she was bisexual or homosexual, as it had "cast her in an improper light." In his 1996 book The Silent Feminists, Anthony Slide stated that "all who Rambova deny that she was a gay woman."

Cultural significance

Design and fashion

Rambova was one of the few women in Hollywood during the 1920s to serve as a head art designer in film productions. At the time, her costume and set designs were considered "highly stylized," and divided opinion among critics. A 1925 Picture Play magazine profile on What Price Beauty? noted the "bizarre" effects present, adding: "Miss Rambova insists the picture will be popular in its appeal, and not, as one might think, 'arty.'" Rambova's sets incorporated shimmering shades of silver and white against sharp "moderne" lines, and blended elements of Bauhaus and Asian-inspired geometries.
Stylistically, Rambova favored designers such as Paul Poiret, Léon Bakst, and Aubrey Beardsley. She specialized in "exotic" and "foreign" effects in both costume and stage design. For costumes she favored bright colors, baubles, bangles, shimmering draped fabrics, sparkles, and feathers. She also strived for historical accuracy in her costume and set designs. As noted in The Moving Picture Worlds review of 1917's The Woman God Forgot : "To the student of history the accuracy of the exteriors, interiors, costumes, and accessories... will make strong appeal."
Commenting on her career in film, design historian Robert La Vine proclaimed Rambova one of the "most inventive designers... ever," also noting her as one of few who crafted both sets and costumes. Film historian Robert Klepper wrote of her designs in Camille : "In evaluating the film today, one has to give art director Natacha Rambova her due credit for her vision as an artist. The deco sets are beautiful, and the ultra modern design was far ahead of its time. Although Rambova may have influenced her future husband Valentino to make some bad business decisions, her talent as an artist cannot be denied." Historian Pat Kirkham also praised her contributions to film, writing that she created "some of the most visually unified films in Hollywood history." Costume historian Deborah Landis named Rambova's white rubberized tunic and the Art Deco-inspired imagery of Salome among the "most memorable in motion picture history."
Though her work in both set and costume design has been deemed influential by film and fashion historians alike, Rambova herself claimed to "loathe fashion," adding:
Thus, Rambova's approach to fashion design in her post-film career was conscious of the individual, a practice which fashion historian Heather Vaughan suggests was carried over from her past designing movie costumes for "individual character types." Vaughan adds: "While not necessarily an innovator of fashion, her Hollywood cachet and ability to synthesize fashion and traditional cultures allowed her to create designs and a personal style that continues to fascinate."
Rambova's clothing designs drew on various influences, described by fashion critics as blending and re-working elements of Renaissance, 18th-century, Oriental, Grecian, Russian, and Victorian fashion. Common preferences in her work included the dolman sleeve, long skirts with high waists, premium velvets, and intricate embroidery, as well as incorporation of geometric shapes and use of "vivid colors... that are violent and definite. Scarlets, vermilions, strong blues, blazoning purples." She was cited as influential by several designers with whom she worked, including Norman Norell, Adrian, and Irene Sharaff. Rambova typically dressed in the style of her designs, and thus her personal style was also influential: She often wore her hair in coiled "ballerina style" braids, sometimes covered in a headscarf or turban, with dangling earrings and calf-length velvet or brocade skirts. Actress Myrna Loy once proclaimed Rambova the "most beautiful woman she'd ever seen."
In 2003, Rambova was posthumously inducted into the Costume Designers' Guild Hall of Fame.

Scholarly influence

Rambova's scholarly work has been regarded as significant by contemporary academics in the fields of Egyptology and history: archaeologist Barbara Lesko notes that her contribution to Piankoff's Mythological Papyri "demonstrates her organizational skills and her commitment to searching out truths and does not reek of unfounded theories or other eccentricity." Rambova's research, specifically her metaphysical interpretations of texts, has been deemed useful by Egyptologists Rudolph Anthes, Edward Wente, and Erik Hornung. In the 1950s, Rambova donated her extensive collection of Egyptian artifacts to the University of Utah, displayed in the Utah Museum of Fine Arts's Natacha Rambova Collection of Egyptian Antiquities. Both Rambova and her mother were credited as "vital" to the establishment of the museum through their donations of paintings, furniture, and artifacts.

Depictions in art and film

Rambova has been depicted across several mediums, including visual art, film, and television: She was the subject of a 1925 painting by Serbian artist Paja Jovanović. In 1975, she was portrayed by Yvette Mimieux in Melville Shavelson's television film The Legend of Valentino, and again by Michelle Phillips in Ken Russell's feature film Valentino. Ksenia Jarova later portrayed her in the American silent film Silent Life, and she also figured in a fictionalized narrative in the network series American Horror Story: Hotel, played by Alexandra Daddario.