Elois Jenssen's career illustrates a blunt truth about early television's labor dynamics: feature‑film pedigree counted for little against the tight budgets and managerial control of burgeoning TV studios. In 1951 Lucille Ball personally approached Jenssen—then a rising costume designer who had already earned an Academy Award for Samson and Delilah (1949) and who had designed gowns for stars such as Hedy Lamarr—about designing costumes for the new CBS sitcom she was creating with husband Desi Arnaz. Jenssen, however, was still tied to an exclusive contract at 20th Century Fox and could not immediately accept. After freeing herself from the Fox contract and freelancing for a season (including designing for Ann Sothern on Private Secretary), she recontacted Ball and accepted a TV offer that dramatically undercut her film rates: hired one week before filming the 1953–54 season at $100 per episode, a rate that rose to $150 the following season.
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