I am greatly indebted to friends on both sides of the Atlantic, especially Peter and Virginia Carry in New York, whose hospitality must by now have earned them a place in the record books; and to Beverly del Castro, Maurice and Elizabeth Pinto, Jane Deuser, William Lamarque, and Max Silver for making my frequent trips to New York so enjoyable. I would particularly like to thank Frances Campbell and Judith Mackrell for their advice, and Candia McWilliam and Martine Stewart for reading the manuscript in draft. I am extremely grateful to Carol Walford for her calm and steady presence throughout, and all her help. To Marianna Hay, Daisy Hay, Michael Hay, and Freddy and Matthew Santer, I can only say this: Diana Vreeland once described fashion as an intoxicating release from the banality of the world. In my case it’s not fashion, it’s you.
A Note on Sources
In her lifetime Diana Vreeland published two autobiographical books, Allure and D.V. Allure (1980) was the first. It emerged from conversations between Diana and the writer and archivist of Andy Warhol’s tapes, Christopher Hemphill. Hemphill recorded Diana over a number of months in 1978, and then produced an edited manuscript, the “Allure Manuscript,” referred to in the notes below. This was largely set aside when Allure developed in a different direction as a photo-autobiography.
The Allure Manuscript did, however, form the basis of Diana’s second autobiographical book, D.V. (1984). George Plimpton recorded further conversations with Diana (Diana Vreeland Tapes below) and edited them together with the Allure Manuscript to create D.V. While writing this book I have drawn on both the Allure Manuscript and D.V. Sometimes the differences are slight but interesting. I have also used material from the Allure Manuscript that George Plimpton subsequently omitted.
Diana rarely “wrote” as commonly understood. She simply talked, or dictated from scribbled notes to secretaries, editors, and copywriters.
When remarks are not attributed in the notes, it should be assumed that they have been made directly to me.
Abbreviations Used in the Notes
DV: Diana Vreeland.
DVP: Diana Vreeland Papers, The New York Public Library, Manuscripts and Archives Division.
DK: Dodie Kazanjian.
DKP: Dodie Kazanjian Papers, Archives of American Art, Smithsonian Institution.
HDFA: Hoffman and Dalziel Family Albums.
Tomkins, II.A.108: Calvin Tomkins Papers, Series II, The Museum of Modern Art Archives, New York.
PCB: Papers of Sir Cecil Beaton, St. John’s College Library.
RAF: The Richard Avedon Foundation.
Notes
The pagination of this electronic edition does not match the edition from which it was created. To locate a specific passage, please use the search feature of your e-book reader.
INTRODUCTION
1 “My maid here at the Crillon”: Allure Manuscript, DVP, Box 35, Folder 2, p. 170. This section of the manuscript is marked “Paris, Spring 1978.”
1 “you lose your face”: Vanity Fair, publication accompanying Vanity Fair: A Treasure Trove of the Costume Institute (New York: Metropolitan Museum of Art, 1977), Section 2, DV to Jacqueline Kennedy Onassis (n.p.).
1 “the High Druidess of fashion”: quoted in Jonathan Lieberson, “Empress of Fashion: Diana Vreeland,” Interview, December 1980, p. 25.
2 “She is indeed such a powerful personality”: Cecil Beaton, The Glass of Fashion (London: Weidenfeld & Nicolson, 1954), p. 311.
2 “She didn’t merely enter a room”: Nicholas Haslam, Redeeming Features: A Memoir (London: Jonathan Cape, 2009), pp. 171 and 172.
2 “Mrs. Vreeland’s head”: Beaton, Glass of Fashion, p. 312.
3 a walk she said she copied from the showgirls of the Ziegfeld Follies: see Diana Vreeland, Allure (Boston: Bulfinch Press, 2002), p. 42.
3 “Like everyone else”: Lieberson, “Empress of Fashion,” p. 25.
3 “An authoritative crane”: Beaton, Glass of Fashion, p. 311.
3 “Some extraordinary parrot”: Truman Capote quoted in Lally Weymouth, “A Question of Style,” Rolling Stone, August 11, 1977, p. 54.
3 “An Aztec bird woman”: quoted in Eleanor Dwight, Diana Vreeland, (New York: William Morrow, 2002), p. 146.
3 “As you know, that’s not the most popular”: Allure Manuscript, DVP, Box 35, Folder 1, p. 16.
3 “There’s a word not much used nowadays”: quoted in Dwight, Diana Vreeland, p. 146.
3 “When she laughed”: Jonathan Lieberson, “Embarras de Richessse: The Life of Diana Vreeland,” New York Review of Books, June 28, 1984.
4 “I have astigmatism”: Diana Vreeland, Allure, p. 45.
5 “slanting knowing eyes”: quoted in Dwight, Diana Vreeland, p. 146.
5 “At the time”: Lieberson, “Empress of Fashion,” p. 25.
5 “I have not one eccentricity”: Allure Manuscript, DVP, Box 35, Folder 3. There are no page numbers in Folder 3 of the Allure Manuscript.
5 “lay a much-heralded mind”: Haslam, Redeeming Features, p. 172.
5 At Diana’s memorial service: by Simon Doonan, who had worked with her at the Costume Institute.
6 one highly critical book: Debora Silverman, Selling Culture: Bloomingdale’s, Diana Vreeland and the New Aristocracy of Taste in Reagan’s America (New York: Pantheon Books, 1986).
7 “the ephemeral, the fugitive, the contingent”: quoted in Christopher Breward and Caroline Evans, eds., Fashion and Modernity (Oxford/New York: Berg, 2005), p.1.
7 “Swifty Lazar took me with him”: Allure Manuscript, DVP, Box 35, Folder 3.
7 “nothing I’ve ever done is extraordinary”: Lieberson, “Empress of Fashion,” p. 22.
7 “Alas, I am afraid”: DV to Marjorie Griswold, May 2, 1972, DVP, Box 3, Folder 6.
7 “She’s a genius”: quoted in Weymouth, A Question of Style, p. 38, and obituaries.
8 a “leitmotif, a continuity”: this observation by make-up artist Pablo Manzoni can be found in the publication accompanying the 1993 exhibition Diana Vreeland: Immoderate Style, by Richard Martin and Harold Koda (New York: Metropolitan Museum of Art, 1993). After the introduction by Martin and Koda there are no page numbers. Contributions are looseleaf so that they can be read at random, a compliment to Diana’s dislike of the linear.
8 “Keep your secret”: to Stephen Jamail, quoted in Martin and Koda, ibid., looseleaf.
8 “I want to tell you that a few years ago”: Allure Manuscript, DVP, Box 35, Folder 3.
CHAPTER ONE: PARIS OPENING
11 She once ejected a friend . . . for suggesting that . . . England had been invaded by the Normans: it was, in 1066.
11 “I said, ‘The first image’ ”: Veruschka in Richard Martin and Harold Koda, Diana Vreeland: Immoderate Style (New York: Metropolitan Museum of Art, 1993), looseleaf. More recently, Veruschka has styled herself Vera Lehndorff, dropping the “von” when co-authoring books.
11 She was coy about her age, and genuinely perplexed: Diana’s confusion was the result of a misreading. The genealogist Philippe Chapelin of gefrance.com has clarified that there was no discrepancy and that Diana was born on September 29, 1903. The misunderstanding came from the abbreviation “7bre” in her bulletin de naissance, which Diana took to mean “July” but is actually shorthand for “September.” “7 does not mean July but seven, that is French ‘Sept.’ ” (Similar abbreviations are used for all the other months of autumn.)
12 People born in Paris: Lally Weymouth, “A Question of Style,” Rolling Stone, August 11, 1977, p. 40.
12 “People used to say to me”: Diana Vreeland Tapes, tape 2A.
12 He was not very Scots: Frederick Dalziel’s line can be traced to 1750, when one of his forebears moved over the border from Scotland to Northumberland in the north of England. Successive generations then moved southward toward London. They were mainly agricultural workers, apart from on
e London branch of the family that produced a startling streak of visual brilliance in the Brothers Dalziel, engravers and illustrators who worked with artists such as John Everett Millais and John Tenniel, and made the blocks for Tenniel’s illustrations for Alice’s Adventures in Wonderland and Through the Looking-Glass. Years later Diana was wildly excited when the original Dalziel Brothers’ blocks for Alice’s Adventures in Wonderland were discovered in a bank vault, hoping she might inherit them. There was little chance of this, for Frederick Young Dalziel was only a distant cousin.
12 he left just a year later: Brasenose College Archives, University of Oxford. There is no mention of illness or failing exams in his record, two other possibilities.
12 “He was so wonderful looking”: Weymouth, “A Question of Style,” p. 40.
13 “There’s only one very good life”: in documentary film Bailey on Beaton, directed by David Bailey, 1971. “Hunting pink” was, of course, scarlet red.
13 Born in 1877: the 1880 New York census gives her age as three, which tallies with the age on her marriage certificate: twenty-four in 1901. Her family thought she was born in 1878, but in the late nineteenth century it was not unusual for women to “lose” a year or more.
14 claims that this side of Diana’s family was Jewish: in 1972 Truman Capote persuaded Diana that Robert McBride, a freelance writer with whom he was infatuated, should write her “autobiography.” After some so-called research, McBride put it about that Diana was Jewish on both sides. See Leo Lerman, The Grand Surprise: the Journals of Leo Lerman (New York: Alfred A. Knopf, 2007), p. 379.
14 Diana’s Hoffman forebears: George Hoffman’s father, a doctor and gentleman farmer, moved his family to New York before the Civil War because he was opposed to slavery.
14 The “Key” was George Hoffman’s mother, Emily Key: Diana’s relationship to Francis Scott Key connected her to Pauline de Rothschild and, more remotely, to Scott FitzGerald.
14 where he ran a private investment bank: the bank was Winslow Lanier & Co. It specialized in handling large bond issues for railroads, helping to make New York City the center of American railroad financing in the 1870s. Its directors sat on railroad boards, enriching themselves in the process: John Washington Ellis was one of a group of financiers who helped to revive the Northern Pacific Railroad in 1873.
15 The Ellises became closely identified with Newport’s growing exclusivity: John Washington Ellis’s son, Ralph, also became master of the Meadow Brook Hunt Club on Long Island in 1895.
15 they were listed in the first edition of the social bible, The Social Register: The Social Register was first published in 1886, but was dated 1887.
15 “the most beautiful young lady on the floor”: undated cutting from HDFA. Although Emily was not formally “out” in 1895, her family was preeminent in Newport circles and she attended the ball with her mother. Alva Vanderbilt, who was a powerful figure and had no time for inconvenient social rules, would have regarded youthful Emily’s beauty as an asset.
16 What really set Emily apart: all press quotations here come from an album kept by Emily, now in a family collection (HDFA). She tended to arrange her clippings by year, without specific dates. The News of Newport was a column in the New York Times. In the late nineteenth- and early twentieth-centuries, keeping such scrapbooks was a common hobby among young women from Emily’s background.
17 Stanford White’s murder by Harry Kendall Thaw in 1906, in the roof theater of Madison Square Garden, became known as “The Trial of the Century.” Thaw, a man of volatile and possessive temperament, was jealous of White’s earlier relationship with Thaw’s wife, Evelyn Nesbit (which involved the red velvet swing), and her continuing affection for him. Thaw was judged insane at the time of the murder trial, which was all the more sensational for what it revealed about the erotic tastes of Stanford White and his circle. Thaw’s diagnosis of insanity was later reversed. The story was retold in the 1955 film The Girl in the Red Velvet Swing, with Joan Collins as Evelyn Nesbit and Evelyn Nesbit herself as an adviser.
17 “a budget of fun”: undated clipping, DVP, Box 10, Folder 14.
17 One New York newspaper: “Eugene Higgins: Host to Society,” New York Times, May 1948.
18 chaperoned by married friends: young American women from Emily’s background were not as closely chaperoned as their European counterparts at this period. Indeed there was a certain patriotic pride in American plutocratic circles at the independence extended to well-born daughters. A mother like Alva Vanderbilt, who controlled every hour of her daughter’s day, consciously adopted the European model and was the exception rather than the rule.
18 “Miss Hoffman did not approve”: Town Topics, September 21, 1901.
18 an intolerable fusspot: Town Topics, September 7, 1899.
19 Frederick Dalziel rented a room: the bride’s residence was given as in the parish of Saint George’s Hanover Square, which meant that she and her family were staying somewhere in Mayfair. Frederick Dalziel’s address was given as 50 Ebury Street, a lodging house for gentlemen. The register was signed by Emily’s brother, John Ellis Hoffman, and his wife, Sybil, and by Frederick Dalziel’s half brother, Edelsten.
19 5 avenue du Bois de Boulogne: now the Avenue Foch, and known as one of the most expensive residential streets in Paris.
20 “Mr. Dalziel has plenty of money”: Town Topics, September 21, 1901, HDFA.
20 “racy, pleasure-loving, gala, good-looking Parisians”: Diana Vreeland, D.V., p. 11.
20 “homesick on both continents”: quoted in Kathleen Adler, Erica Hirschler, and Barbara H. Weinberg, Americans in Paris 1860–1900 (London: National Gallery Company, 2006–7), p. 70.
21 his four month-old-son Ian, eventually the 11th duke: Douglas Walter Campbell, heir presumptive to the 10th duke, died before he could inherit, in 1926. His son Ian became 11th duke in 1949. The latter would later be remembered chiefly for his scandalous divorce from his third wife, Margaret Whigham, in 1963 (cf. Thomas Adès’s opera Powder Her Face).
22 “he had nothing to say”: Vreeland, D.V., (New York: Knopf, 1984), p. 12.
22 “Their shoes were so beautiful”: ibid., p. 14.
22 The Dalziels proceeded to occupy a number of houses: including 22 West Fiftieth Street, in 1904; and 103 East Seventy-Ninth Street in 1906.
22 There are several photographs of Diana: DVP, Box 63, Folder 1.
23 “Sisters remember things differently”: Jesse Kornbluth, “The Empress of Clothes,” New York Magazine, November 29, 1982, p. 32.
23 “a tremendous snob about my mother’s relations”: private interview, 1991.
24 The Dalziels’ friends included: Mrs. Henry Clews, Jr., the former Louise Gebhard, was credited with launching the career of society jester Harry Lehr by splashing about in a fountain with him in Baltimore. She was also felt to have married Clews rather too quickly after her divorce from Mr. Gebhard. Robert Winthrop Chanler was an eccentric muralist who married the singer Lina Cavalieri after a whirlwind romance. The marriage lasted just long enough for Chanler to settle a large sum of money on her, whereupon she deserted him. Chanler’s brother, who had been consigned to a lunatic asylum, sent him a telegram saying “Who’s loony now?”, a story that enchanted Diana. “I am a child of this last, eccentric, independent age,” Diana said to George Plimpton (Diana Vreeland Tapes, Tape 2A).
24 “He never had any money”: Vreeland, D.V., p. 22.
24 “Whispers would go around”: ibid., p. 29.
24 “I remember this”: ibid., p. 30.
25 “I think she was someone who was possessed by a great fear”: ibid.
25 “My father was rather amused”: ibid., p. 30.
25 “She had a great many men”: private interview, 1991.
26 “So many of the things”: Allure Manuscript, DVP, Box 35, Folder 2, p. 140.
26 “She
was all in black”: Vreeland, D.V., p. 17.
27 “red red, violent violet”: ibid., p. 14.
27 “That’s where everything happened”: ibid., p. 17.
28 “Sister” was a sensation even when taken out in her pram: Diana said that this happened in 1914, the year she claims the family moved back to New York. But Alexandra would have been seven, rather too old for a pram.
28 “I can remember she was The Most Beautiful Child in Central Park”: Vreeland, D.V., pp. 10–11.
28 “wretched health . . . nothing definite”: New York Telegram and Evening Mail, Tuesday, February 10, 1925.
29 “You ask ‘do I love you’ ”: n.d. but probably written between 1925–27 when Alexandra Dalziel was at Bryn Mawr, HDFA.
29 “All I knew then was that my mother wasn’t proud of me”: Vreeland, D.V., p. 30.
29 Though there was a nurse of that name: Diana appears to have plucked this name for her hated nanny from her childhood album.
30 “She didn’t like Diana”: private interview, 1991. Years later Alexandra’s daughter still felt the full force of Kay Carroll’s antipathy toward Diana and found herself affected by it; see chapter 4.
30 “My nurse was appalling”: Allure Manuscript, DVP, Box 35, Folder 1, p. 2.
30 “It was a wall of water”: Allure Manuscript, DVP, Box 35, Folder 2, p. 178. Diana told Christopher Hemphill that the nightmare only disappeared in her seventies, when she found herself looking at a wave on a lacquered Japanese screen at the Metropolitan Museum and suddenly remembered a wave on a similar Japanese screen at her grandmother’s house in Southampton. “I turned to the person I was with and said, ‘My God, this is the beginning and the end of my nightmare.’ ” (DVP, Box 35, Folder 2, p. 178).
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