Nazimova was impressed and when she asked for revisions to some costumes, Rambova took out a pencil and began to make the revisions, showing that she had done the work.

Rambova took on teaching design and selling some of her jewelry.

Rambova took control of the production, especially the costumes and the casting.

Although Joseph Henabery was the official director, Rambova took over this role unofficially.

Rambova only took part in two scenes before leaving the film claiming modern stories bored her.

When Rambova began work in film costume design she took to researching historical accuracy for her designs.

Kosloff had several lovers, and took credit for all their designs and work he would ask them to do, including Rambova.

Actress Myrna Loy claimed that Rambova was unfairly criticized, that Valentino was like a little boy wanting to please people by saying yes to everything, while Rambova took the blame by going after these people and saying no.

When Valentino suddenly took ill, Rambova was in Europe.

Rambova negotiated a two picture deal with Famous Players and four pictures for Ritz Carlton.

While Rambova worked designing costumes and rewriting the script for Falcon, Valentino was persuaded to film Cobra with Nita Naldi.

He was looking for a leading lady for Cobra, the first independent project he and his wife Natacha Rambova were producing.

Rambova recommended Loy for a small but showy role opposite Nita Naldi in What Price Beauty?

Rambova was rebellious, and mocked her stepfather for being passive.

Around this time Rambova fell for the 32 year old Kosloff ( who had a wife and an invalid daughter in Europe ) and the pair began a tumultuous love affair.

The pictures had been taken by Rambova as part of a series of faun pictures for a magazine called Shadowland, that featured art and dancer photos.

As the bigamy scandal raged on, Rambova began work on costumes for Valentino's next picture, The Young Rajah.

Once the tour wrapped up, Valentino and Rambova legally married and the press praised Rambova for her " business sense ".

Rambova would be seen as his artistic collaborator for the first time.

By this point in Valentino's career the press began to blame Rambova for his missteps, claiming she was controlling and power hungry.

The costumes were again lavish and Rambova brought on two designers who would go on to successful careers: Norman Norell, and Adrian ( who would design for The Wizard of Oz ).

During production for The Hooded Falcon, Rambova clashed frequently with Valentino's friends.

Rambova and George Ullman were in a battle for control of Valentino's career.

Rambova, alongside Valentino and Henabery, decided Mathis ' script for The Hooded Falcon would not do and that a script doctor should be used.

With her husband in Mallorca, Rambova began a business of buying up old villas and modernizing them for tourists ; a venture she financed with her inheritance from her stepfather who had died in 1928.

The marriage began to be strained as the press scrutinized Rambova and blamed her for Valentino's failures.

After signing with United Artists ( which stipulated Rambova could not be present on Valentino's sets or take part in his films ), Rambova turned cold and ignored her husband's 30th birthday, mocking him for staying home all day while she went to work ( he was waiting for his contract to finalize ), sparring with him in public, embarrassing him in front of Hollywood elite on the night of his ' Rudolph Valentino Medal ' ceremony, and eventually cheating on him with her cameraman on What Price Beauty?

George Ullman, who had negotiated the contract with United Artists, offered Rambova $ 30, 000 to finance a film of her own.

Valentino first met Winifred Shaughnessy, known by her stage name, Natacha Rambova, an American silent film costume and set designer, art director, and protégée of Nazimova, on the set of Uncharted Seas in 1921.

Many of Valentino's friends disliked Rambova and found her controlling.

Rambova was adopted by her stepfather, making her legal name Winifred Hudnut.

Right before World War I broke out, Rambova returned to San Francisco where she clashed with her mother once again and insisted she would pursue ballet as a career.

Rambova, now 17, changed her name to Natacha Rambova at this time.

Rambova fled New York and hid in Canada, and later England, to hide from her mother.

Nazimova offered Rambova a position on her production staff as an art director and costume designer.

By 1922 Rambova had left Metro to join Nazimova on her artistic productions.

Rambova stated she was not worried, and could keep them afloat with her designs.

Rambova was credited under her legal name Winifred Hudnut.

Rambova wrote the initial scenario and it was again to be her production.

As a peace offering, Ullman offered Rambova $ 30, 000 to create a film of her own choosing.

After her divorce from Valentino began, Rambova produced and starred in another picture, Do Clothes Make the Woman ?.

Rambova was reportedly so upset that the distributor promoted the film with her name as " Mrs. Valentino " that she never acted in film again.