Acker’s public image was built around conventional screen romance, but her private life intersected with the discreet lesbian and bisexual networks that existed inside the studio-era film industry. After moving to Hollywood in 1919, she became the protégée and lover of the powerful actress Alla Nazimova, whose professional influence helped Acker secure a studio contract reportedly worth $200 per week. Nazimova’s social circle was later associated with the “Sewing Circle,” a term used for actresses who concealed same-sex relationships because public disclosure could damage their careers in an industry governed by publicity departments, moral expectations, and the threat of professional blacklisting.
Acker was also involved with actress Grace Darmond, including during the period when her marriage to Valentino was disintegrating. The source describes Acker’s connection to Nazimova’s circle as part of a broader need for actresses to hide lesbian or bisexual identities rather than as a formal organization. That concealment helps explain the contrast between Acker’s highly publicized marriage to one of Hollywood’s biggest male stars and the private relationships that shaped her personal life. After her divorce, Acker later formed a lifelong partnership with former Ziegfeld Follies performer Chloe Carter; the two owned an apartment building together in Beverly Hills and were buried beside one another after Acker’s death in 1978.
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