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Travis Banton's design for Claudette Colbert in the title role of Cleopatra (1934)
Anna May Wong wearing Travis Banton in Limehouse Blues (1934)

Travis Banton (August 18, 1894 – February 2, 1958) was an American costume designer. He is perhaps best known for his long collaboration with actress Marlene Dietrich and director Josef von Sternberg. He is generally considered one of the most important Hollywood costume designers of the golden age.

Born in Waco, Texas, Banton moved to New York City as a child. He was educated at Columbia University and at the Art Students League of New York, where he studied art and fashion design.

An early apprenticeship with a high-society costume dressmaker earned him fame. His reputation was established when Mary Pickford selected one of his dresses for her wedding to Douglas Fairbanks.

He opened his dressmaking salon in New York City, and he was asked to create costumes for the Ziegfeld Follies. In 1924, Banton moved to Hollywood when Paramount contracted with him to create costumes for The Dressmaker from Paris, his first film.

Beginning with Norma Talmadge in Poppy, Banton designed clothing for Pola Negri and Clara Bow in the 1920s. In the 1930s and 1940s, Banton designed for Kay Francis, Lilyan Tashman, Sylvia Sidney, Gail Patrick, Helen Vinson, and Claudette Colbert. Ultimately, Banton may be best remembered for forging the style of Carole Lombard, Marlene Dietrich, and Mae West. Dietrich and Banton had an especially close and successful collaboration. His work for Dietrich frequently is referenced by designers.[1]

Glamour, subtle elegance, and exquisite fabrics endeared Banton to Hollywood's celebrated beauties and made him one of the sought-after costume designers of his era. As viewings of such films as The Gilded Lily (1935) and Desire (1936) reveal, his costume designs were marked by form-flattering cuts (often on the bias), rich fabrics (such as satin and lamé), and extravagant textures (beads, fur, and feathers). He collaborated closely with directors and actresses in order to fulfil their vision.

When designer Howard Greer left Paramount, Banton was promoted to head designer and was responsible for dressing the studio's stars. Because of his worsening alcoholism, and according to some commentators, at the instigation of his assistant Edith Head, Banton was forced to leave Paramount. He returned to designing privately for loyal stars and occasionally designed for Twentieth Century-Fox from 1939 to 1941 and Universal from 1945 to 1948.

Notable design projects

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References

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Travis Banton

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''Travis Banton'' is an American costume designer known for his elegant and glamorous creations that defined Hollywood's Golden Age, particularly the sophisticated "Paramount Look" of the 1930s. [1] Born on August 18, 1894, in Waco, Texas, Banton moved to New York as a young child and pursued studies at Columbia University, the Art Students League, and the New York School of Fine and Applied Art before beginning his career in fashion and theater design, including work for Vogue magazine, the Ziegfeld Follies, and notable clients such as Mary Pickford. [1] After serving in the U.S. Navy during World War I, he transitioned to Hollywood in 1924 at the invitation of Paramount Pictures producer Walter Wanger, initially assisting Howard Greer and quickly rising to prominence with designs for films such as The Dressmaker from Paris. [1] As Paramount's chief costume designer from 1929 to 1938, Banton created costumes for numerous films and dressed stars in his signature style. [1] He collaborated closely with iconic actresses to craft their screen personas: he dressed Marlene Dietrich in Morocco, Shanghai Express, Blonde Venus, The Scarlet Empress, and other films, emphasizing her androgynous sophistication; Mae West in I'm No Angel and Belle of the Nineties with exaggerated, high-camp glamour; Carole Lombard in Nothing Sacred with chic high-fashion elegance; and Claudette Colbert in Cleopatra, among many others. [1] His work featured meticulous craftsmanship, timeless style, and a focus on enhancing star image both on screen and in public, influencing 1930s fashion trends and earning praise from peers for its enduring quality. [1] Following his Paramount tenure, Banton worked freelance, served as a designer at Twentieth Century-Fox from 1939 to 1941, headed costume design at Universal Studios from 1945 to 1948, and later returned to Broadway, notably creating costumes for Rosalind Russell in the 1956 production of Auntie Mame. [1] He died of throat cancer on February 2, 1958, in Los Angeles, widely regarded as one of the most influential costume designers of Hollywood's golden era, whose designs helped shape the visual language of classic cinema. [1]

Early Life

Birth and Family Background

Travis Banton was born on August 18, 1894, in Waco, Texas. [2] [3] He was the son of Rennie B. Banton and Maggie (Jones) Banton. [1]

Education and Early Training

Travis Banton attended Columbia University, the Art Students League of New York, and the New York School of Fine and Applied Arts.[4] These institutions offered training in art and applied arts, equipping him with foundational skills in drawing and design that informed his later work in costume creation.[4] His formal studies preceded his service in the Navy during World War I.[4]

Early Career in Theater and Fashion

Travis Banton developed his talents in art, theater, and custom fashion design during his early years in New York City, where his family relocated when he was two years old. He pursued studies at Columbia University to satisfy his parents, while also training at the Art Students League and the New York School of Fine and Applied Art, which helped shape his artistic foundation. [1] Banton began his professional career in fashion, working independently as a dress designer and contributing sketches that appeared in Vogue magazine from July 1917 through February 1918. During World War I, he served in the U.S. Navy. [1] He later joined the New York branch of the prestigious fashion house Lucile, founded by Lady Duff-Gordon. [1] As an apprentice at the New York fashion house of Madame Frances, Banton gained significant recognition when Mary Pickford selected one of his designs for her wedding gown to Douglas Fairbanks in 1920. [1] [5] He soon distinguished himself in theater costume design by creating opulent outfits for the Ziegfeld Follies and other New York stage productions, showcasing his ability to blend glamour with dramatic flair. [1] In 1924, producer Walter Wanger invited Banton to relocate to California, providing the opportunity that led to his entry into the Hollywood film industry. [1]

Hollywood Career

Arrival at Paramount Pictures

Travis Banton arrived in Hollywood in 1924 after producer Walter Wanger recruited him to join Paramount Pictures as an assistant to head costume designer Howard Greer. [1] This move brought the New York-trained designer into the studio system during the height of the silent film era, where he began contributing to costume design under Greer's supervision. [1] Banton's first notable assignment at Paramount came with the 1925 film The Dressmaker from Paris, for which he designed costumes that earned him instant acclaim, particularly for dressing star Leatrice Joy and the mannequins featured in the film's prominent style show sequence. [1] He later advanced to Paramount's chief designer in 1929. [1]

Rise to Chief Designer

Travis Banton joined Paramount Pictures in 1924 as an assistant to chief costume designer Howard Greer, initially contributing to films such as The Dressmaker from Paris. [1] In 1929, following Greer's departure from the studio, Banton was promoted to Paramount's chief costume designer, a position he held until 1938. [1] [6] As chief designer, Banton oversaw the costume departments and led a team responsible for creating designs for a large volume of Paramount productions during the studio's glamour era. [1] The studio rewarded his leadership with a high salary, extensive publicity, a private domain of artisan workrooms, and a luxury office. [1] Paramount head Adolph Zukor, a former furrier who placed strong emphasis on costume excellence for commercial appeal, supported Banton's authority in the department. [1] Banton's former assistant Edith Head later described him as a "god" at the studio during this period, noting that nobody dared oppose him on design decisions or budgets. [1] His tenure as head designer solidified his influence over the studio's visual style until his departure in 1938. [1] [7]

Paramount Heyday and Major Collaborations

Travis Banton enjoyed his most celebrated period at Paramount Pictures during the 1930s, marked by a prolific and influential collaboration with actress Marlene Dietrich and director Josef von Sternberg that helped define the studio's glamorous aesthetic. [8] Banton designed costumes that accentuated Dietrich's androgynous appeal and legendary legs, incorporating tuxedos, pantsuits, and thigh-baring skirts to highlight her distinctive screen persona and sexual ambiguity. [8] This partnership produced striking results in key films, beginning with Morocco (1930) and Dishonored (1931), where Banton created the wardrobe for Dietrich's portrayal of a spy. [9] In Shanghai Express (1932), his designs enveloped Dietrich in exotic, opulent creations that enhanced the film's visual splendor and von Sternberg's atmospheric style. [10] The collaboration continued in The Scarlet Empress (1934), featuring elaborate period costumes; Banton resisted Dietrich's insistence on a large fur hat—similar to one worn by Greta Garbo in Queen Christina—and the argument delayed production. [11] Banton also formed significant working relationships with other Paramount stars, including Carole Lombard and Claudette Colbert, crafting costumes that complemented their sophisticated and witty screen images in several 1930s productions. [12] His designs for these actresses, alongside his work with Dietrich, exemplified his ability to elevate star power through innovative and flattering costume work that became synonymous with Paramount's golden era glamour. [1]

Departure from Paramount and Freelance Period

In 1938, Travis Banton's tenure as chief costume designer at Paramount Pictures ended when the studio did not renew his contract after he requested a salary increase.[1] Paramount's budget-conscious approach amid the lingering effects of the Great Depression played a significant role in the decision, as did complaints from directors about production delays linked to the wardrobe department and the expensive nature of Banton's intricate designs.[1] The exit of his most prominent advocates, Marlene Dietrich and Carole Lombard, from the studio further weakened the case for retaining him at his high salary, leading Paramount to appoint Edith Head as his successor at less than half his weekly pay.[1] The relentless pressures of the role had taken a toll on Banton, whose alcoholism contributed to growing difficulties in managing the demands of the position.[1] After leaving Paramount, Banton shifted to freelance costume design while expanding his work in couture.[1] He initially partnered with former Paramount colleague Howard Greer as a private couturier from 1938 to 1939.[13] Many of his former Paramount stars continued to seek his services for private commissions, supporting his transition to independent practice.[1] Banton sustained a parallel couture business alongside his freelance film and television projects, which allowed him to maintain creative autonomy outside the studio system.[1] This period marked his move toward a more flexible career, blending custom design for individual clients with occasional film work.[1]

Later Work in Film and Television

After leaving Paramount in 1938, Travis Banton transitioned to freelance costume design while maintaining an independent couture business in Beverly Hills, allowing him to work across multiple studios and later extend into television. [1] [14] He served as a staff designer at Twentieth Century-Fox from 1939 to 1941, contributing to productions such as The Mark of Zorro (1940) and How Green Was My Valley (1941). [14] His freelance period included notable credits like Letter from an Unknown Woman (1948), a critically regarded period drama, and the 1951 biographical film Valentino. [14] From 1945 to 1948, Banton acted as head stylist at Universal Studios, where he handled a substantial number of assignments during the postwar years. [1] [14] Throughout his entire career, Banton designed costumes for 262 films, with his later contributions reflecting continued activity across Hollywood even as the studio system evolved. [1] In the 1950s, he expanded into television costume design, including work for Dinah Shore's television show at the time of his death in 1958. [1] These later projects demonstrated his adaptability beyond the glamour-focused Paramount era, though they received less prominence than his earlier collaborations with major stars. [1]

Costume Design Approach and Innovations

Signature Style and Techniques

Travis Banton is renowned for the "Paramount Look," an aesthetic that combined understated elegance, sophisticated modernity, impeccable workmanship, and lavish screen glamour to define Paramount Pictures' prestige during Hollywood's Golden Age. [1] His designs characteristically blended subtle refinement with opulent detailing, employing luxurious materials and intricate embellishments to produce costumes of exceptional visual richness. [1] A defining technique in his work was the extensive use of bias-cut construction, particularly in gowns, which created fluid drape, graceful movement, and body-conscious silhouettes that heightened on-screen glamour. [1] [15] Banton selected extravagant, high-cost fabrics such as chiffon and silk, often paired with lavish trimmings including beading, sequins, and furs, to maximize light reflection and create striking visual impact under studio lighting. [1] He approached costume design as a form of persona transformation, skillfully shaping fabric and form to enhance and elevate performers' screen presence. This combination of technical precision, luxurious materials, and glamour-enhancing techniques resulted in timeless designs that epitomized Hollywood sophistication. [1]

Influence on Hollywood Glamour and Fashion

Travis Banton played a pivotal role in defining the iconic glamour of 1930s Hollywood through his extravagant and visionary costume designs at Paramount Pictures, where he served as chief designer from 1929 to 1938. [16] His creations featured opulent materials such as beads, feathers, jewels, and rich fabrics, often employing bias cuts to accentuate the female form and create dramatic, theatrical effects that epitomized the era's escapist sophistication during the Great Depression. [5] Collaborations with Marlene Dietrich, including the androgynous white tie and tails tuxedo in Morocco (1930) and the explosive black coq feather ensembles in Shanghai Express (1932), established enduring symbols of bold femininity and screen allure that resonated widely. [17] Banton's film costumes exerted substantial influence on contemporary fashion, as New York and Paris couturiers frequently copied his designs for retail, driven by audiences' desire to emulate the glamorous looks seen on screen. [5] Notable examples include the anachronistic Art Deco Egyptian-inspired gowns he created for Claudette Colbert in Cleopatra (1934), which prompted immediate knock-offs stocked by retailers like Macy’s, and other designs that influenced trends. [5] He also contributed to evolving silhouettes in the 1930s, as seen in his work with actresses like Lilyan Tashman. [17] Despite his critical acclaim and lasting impact on cinematic aesthetics and real-world fashion, Banton never received an Academy Award, primarily because the costume design category was not established until 1948, well after his peak Paramount years ended. [5] He remains less celebrated today than contemporaries such as Adrian or his protégé Edith Head, though his contributions to the glamorous fashion zeitgeist of the 1930s continue to be recognized by fashion historians. [5]

Personal Life

Personal Relationships and Interests

Travis Banton kept his personal life largely private, though some details are documented in historical sources. He was gay, and on July 1, 1942, he married Elizabeth "Biddy" Ann Kleitz, an advertising executive and friend from his time at Columbia University, in Manhattan. Many film historians consider the marriage a strategic arrangement that provided social cover during a conservative era in Hollywood and facilitated connections with the elite. The couple lived together in Los Angeles until 1952, when Kleitz returned to Manhattan; they never divorced and had no children.[1] Banton was an alcoholic, and his erratic behavior involving absenteeism and alcohol affected his reliability and professional life. Paramount did not renew his contract in 1938 following his request for a salary increase, amid complaints about production delays, high costs of his designs, and the departure of key supporters such as Marlene Dietrich and Carole Lombard.[1] Beyond his dedication to costume design and fashion, little is documented about his hobbies or interests outside of work.

Death

Final Years and Death

In his later years, Travis Banton shifted away from Hollywood film work after completing his final motion picture assignment, the 1951 biopic Valentino. [18] He returned to independent design projects, including private commissions, stage work, a couture collection in collaboration with Marusia Toumanoff Sassi under the Marusia-Travis Banton label, and designs for Dinah Shore's television show. [1] One of his last notable contributions was designing costumes for Rosalind Russell in the Broadway production of Auntie Mame, which premiered in 1956 and continued through his death. [4] Travis Banton died of throat cancer on February 2, 1958, at Cedars of Lebanon Hospital in Los Angeles, California, at the age of 63. [4] [19] [1] [18]

Legacy

Posthumous Recognition and Impact

Travis Banton's contributions to Hollywood costume design during the 1930s have earned him recognition as one of the most important designers of Hollywood's Golden Age, particularly for defining the glamorous "Paramount Look" that shaped the screen images of major stars.[1] His work continues to be celebrated through the preservation of his costumes in prominent museum collections, including the Metropolitan Museum of Art, where an evening dress he created for Anna May Wong in the 1934 film Limehouse Blues is held; the piece is described as an evocative and glamorous example of his work, featuring a dragon motif executed in gold and silver sequins on luxurious satin.[20] This dress, originally gifted to the Brooklyn Museum by Wong in 1956 before becoming part of the Met's Costume Institute collection, underscores his innovative fusion of Western form-fitting silhouettes with Asian-inspired details. Banton's designs have appeared in major Costume Institute exhibitions at the Metropolitan Museum of Art, notably "China: Through the Looking Glass" (2015), which examined the influence of Chinese aesthetics on Western fashion across centuries, including through Hollywood cinema, and featured his work alongside that of designers like Cristóbal Balenciaga, Coco Chanel, and Christian Dior.[21] Posthumous praise from influential figures further affirms his standing; Cecil Beaton called him "one of the most important" designers of Hollywood's golden years, while Norman Norell argued that Banton's talent surpassed Adrian's and that he had been underrated, with timeless costumes that defined iconic screen personas.[1] Edith Head, who succeeded him at Paramount, described him as "a god" and "the greatest," crediting his guidance for her own path in the field.[1] Despite such endorsements and the lasting impact of his designs on fashion trends and Hollywood glamour, Banton remains less celebrated than some contemporaries, often confined to specialized books and histories rather than widespread mainstream recognition, in part because his most acclaimed work predated the establishment of the Academy Award for costume design in 1948.[1] This relative underappreciation persists despite his preserved garments in institutions like the Met and the Museum of Fine Arts, Boston, and the ongoing scholarly interest in his role as a genius image-maker.[1]

Areas of Incomplete Historical Coverage

Despite his influential contributions to Hollywood costume design during the Golden Age, Travis Banton remains underrecognized relative to contemporaries such as Edith Head, who began her career as his assistant at Paramount and later achieved far greater public and award prominence. [1] Scholars and fellow designers have noted that Banton has been underrated, with some arguing his talent surpassed that of Adrian due to the timeless quality of his work and its role in creating iconic images, yet credit for certain signature looks—particularly Marlene Dietrich's style—has often been attributed primarily to director Josef von Sternberg and cinematographers rather than Banton himself. [1] This pattern of attribution has relegated much of his legacy to glossy coffee-table books instead of more in-depth scholarly analysis. [1] Additionally, Banton's most acclaimed work predated the establishment of the Academy Award for costume design in 1948, limiting formal recognition through Oscars and contributing to his comparatively lower profile in historical accounts. [1] Documentation of Banton's pre-1924 career in New York and his personal life shows notable limitations across sources. While some biographical entries outline his studies at the Art Students League and New York School of Fine and Applied Art, his fashion apprenticeships, contributions to Vogue magazine, and stage work including Ziegfeld Follies, many accounts provide only brief or incomplete coverage of these early years before his 1924 move to Hollywood. [1] Certain details, such as precise aspects of his World War I naval service, remain uncertain or speculative in the record. [1] Personal life information is similarly sparse, with available details on his 1942 marriage to Elizabeth “Biddy” Ann Kleitz—including interpretations of its strategic nature amid industry pressures—relying on secondary historical consensus rather than extensive primary documentation. [1] These gaps underscore the need for further primary source research to verify attributions for specific costume credits and to expand understanding of his formative years and private experiences, allowing for a more complete assessment of his impact. [1]

References

  1. https://www.tshaonline.org/handbook/entries/banton-travis
  2. https://www.findagrave.com/memorial/20292/travis-banton
  3. https://www.kwtx.com/content/news/Good-Morning-390501831.html
  4. https://www.nytimes.com/1958/02/03/archives/travis-banton-dies-coast-dress-designer-worked-on-gownsforauntie.html
  5. https://fashionsflashback.com/2018/02/23/bedazzled-by-banton/
  6. https://filmstarpostcards.blogspot.com/2024/12/la-collectionneuse-costume-by-travis.html
  7. https://www.smh.com.au/entertainment/art-and-design/seams-dreams-the-hands-behind-classic-hollywood-costumes-20141215-127per.html
  8. https://variety.com/2002/film/awards/style-teams-1117864209/
  9. https://www.tcm.com/articles/87833/dishonored
  10. https://www.tcm.com/articles/18558/shanghai-express
  11. https://www.tcm.com/articles/276073/the-scarlet-empress
  12. http://silverscreenmodes.com/travis-banton-and-edith-head-the-early-years-at-paramount/
  13. https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/banton-travis
  14. http://www.filmreference.com/Writers-and-Production-Artists-Ba-Bo/Banton-Travis.html
  15. http://www.ladyevesreellife.com/2013/03/fashion-in-film-blogathon-shanghai.html
  16. https://theconversation.com/seams-dreams-the-hands-behind-classic-hollywood-costumes-34707
  17. https://glamourdaze.com/2018/07/travis-banton-when-fashion-made-hollywood.html
  18. https://www.imdb.com/name/nm0052555/bio/
  19. http://the.hitchcock.zone/wiki/Travis_Banton
  20. https://www.metmuseum.org/art/collection/search/156230
  21. https://www.metmuseum.org/press-releases/china-through-the-looking-glass-2015-exhibitions
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