Jean Acker was not simply a one-night bride; she was also a protégée and romantic partner of Alla Nazimova, the Russian-born star whose influence in Hollywood was legendary. Nazimova used her clout to secure Acker a lucrative $200-per-week studio contract after Acker’s 1919 arrival in California. More widely, Nazimova presided over what gossip columns and later historians dubbed the “Sewing Circle” — a loose, secretive cohort of actresses and creatives who were lesbian or bisexual and who, because of studio morality clauses, fan expectations, and the ruthless publicity machines of the era, had to conceal their relationships. Acker’s involvement with Canadian actress Grace Darmond is one documented example of the private romantic lives these women led while maintaining public heteronormative facades. The Sewing Circle was both a protective social network and a symptom of the studio system’s policing of sexuality: careers, contracts, and social standing were all at stake, and women like Acker navigated a treacherous social and professional landscape in which exposure could mean ruin.
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