Empress of Fashion

by Amanda Mackenzie Stuart

  Porter, Cole, 155

  Potok, Anna, 266

  Potter, Clare, 125, 130

  Pucci, Emilio, 161, 178, 211, 218; DV’s idea for psychedelic underwear, 211

  Quant, Mary, 199, 200, 227, 236, 324, 368n 227

  Rabanne, Paco, 228, 229

  Radziwill, Lee, 159, 175, 178, 296

  Rastelli, Vittoriano, 215

  Rattazzi, Priscilla, 289, 292, 303

  Rawlings, John, 183

  Ray, Man, 109

  Raye, Martha, 135

  Rayner, Mr. and Mrs. William (Chessy), 288

  Reagan, Nancy, 310, 311

  Redgrave, Vanessa, 237

  Revson, Charles, 165

  Reynal, Jeanne, 60, 346n 59

  Rhodes, Zandra, 314

  Ribes, Comtesse Jacqueline de, 224, 236, 296

  Richardson, John, 5, 307

  Ritz-Carlton Hotel, New York, 58

  Roberts, Ray, 300

  Robertson, Cordelia Biddle, 150, 222

  Rockefeller, Godfrey S., 67

  Rogers, Millicent, 83, 164, 279, 293

  Rollin, Betty, 202

  Rolling Stone, 302

  Rolling Stones, 198, 288

  Romanones, Countess Aline, 274

  Romantic Moderns (Harris), 80

  Rose, Alex, 174

  Rosenstein, Nettie, 126

  Rose of the World, The (film), 46

  Ross, Sir Charles, 51–53, 66, 71, 347n 66, 348n 71, 348n 72

  Ross, John, 322

  Ross, Lady Patricia, 66, 71, 72, 347n 63, 348n 72

  Rothko, Mark, 60

  Rothschild, Pauline Potter,

  Baronness Philippe de, 139, 140, 219, 265, 269, 273, 274, 276, 301, 339n 14

  Rousseau, Theodore, 269, 270

  Rowlands, Penelope, 170, 171, 355n 119

  Rubartelli, Franco, 235

  Rubinstein, Helena, 58

  Rubinstein, Ida, 26, 214

  Russell, Consuelo, 203

  Russell, Edwin, 191, 219

  Ruston, Perry, 258–59

  Ryan, D. D., 158

  Sackville, Idina, 348n 71

  Saint Laurent, Yves, 236, 321, 368n 227; DV’s exhibition of, 312

  Saks Fifth Avenue, 182, 210

  Sand, George, 45, 237

  Sant’Angelo, Giorgio di, 235, 252, 253, 281, 322

  Sassoon, Vidal, 204, 228

  Scaasi, Arnold, 281

  Schiaparelli, Elsa, 83, 84, 109, 112, 140, 219, 232, 279, 313, 354n 112

  Schlappi mannequins, 274–75

  Schlumberger, Johnny (Jean), 139, 155

  Schnurer, Carolyn, 130, 133

  Schön, Mila, 212

  Scovil, Cora, 130

  Sellers, Peter, 238

  Selling Culture (Silverman), 310–12, 313

  Selznick, David O., 281

  Seventeen magazine, 199, 324

  Shaver, Dorothy, 125, 130, 138, 267, 277

  Shrimpton, Jean, 197, 198, 206, 241–42

  Sills, Thomas, 60

  Silver, Stuart, 285

  Silverman, Debora, 310–12

  Simonetta, 161

  Simpson, Adele, 252

  Simpson, Babs, 129, 132, 136, 145, 253, 255, 355n 119

  Simpson, Wallis Warfield. See Windsor, Duchess of

  Singh of Kapurthala, Prince Martand “Mapu,” 315

  Sitwell, Edith, 302

  Slifka, Barbara, 159, 170

  Sloat, Stella, 176, 177

  Smith, Florence Pritchett, 220

  Smith, Liz, 311

  Snow, Carmel, 103, 117, 126, 130, 262, 281, 324, 355n 119; alcohol and, 170–71; Americanization of Parisian designs and, 161–62; appearance, 106, 157; Avedon and, 156–57; Balenciaga and, 161, 162; Brodovitch and, 108–9, 132, 157; Chanel’s return and, 162; Dior and, 144–46, 161; DV and, 104, 111, 118, 121, 123–24, 130, 136, 157, 162–63, 172; DV hired by, 102–4, 353n 103; as editor in chief, Harper’s Bazaar, 102–11, 118, 132, 157, 164, 180; Italian designers and, 161; Junior Bazaar and, 360n 156; New Look coined by, 145, 358n 145; Paris couture and, 119, 143–47; salary, 355n 119; succession of, 170–71

  Snowdon, Anthony Armstrong-Jones, Lord, 205, 258

  Social Register, 21, 23, 63, 340n 15

  Sokolsky, Melvin, 173

  Solomon, Andrew, 247, 316

  Sontag, Susan, 249

  Spaak, Catherine, 195

  Stamp, Terence, 266

  St. Augustine, Florida, 134–35, 142

  Steele, Tommy, 241

  Steele, Valerie, 133, 211, 212

  Steichen, Edward, 74, 107, 343n 38

  Stein, Gertrude, 302

  Stern, Bert, 183, 185, 234, 236, 248, 276, 301

  Stevens, Jocelyn, 299, 375n 299

  Strega, 369n 235

  St. Regis Hotel, 102

  Streisand, Barbra, 196, 230

  Stutz, Geraldine, 170

  Talbot, Suzanne, 112

  Tale of Genji, The, 208

  Talley, André Leon, 284, 293, 373n 284; DV and, 5, 284–85, 314, 315, 316, 318, 320

  Talmey, Allene, 191–92, 198, 244

  Tate, Sharon, 227

  Tatler (English society magazine), 124

  Taylor, Ann, 242, 251–52, 370n 242

  Taylor, Elizabeth, 288, 304

  Tazi, Tamy, 215

  Tereshkova, Valentina, 199

  Thaw, Harry, 17

  Thompson, Anna Key, 21

  Tiffeau, Jacques, 203

  Tobé-Coburn School for Fashion Careers, 130

  Tomkins, Calvin, 109, 110

  Town & Country magazine, 103

  DV at, 103, 104, 353n 103

  Townley Frocks, 128, 129

  Town Topics, (gossip magazine) 18, 63–64, 67

  Train, Susan, 187, 254, 273

  Travers, Mary, 202

  Tree, Marietta, 232, 233

  Tree, Penelope, 231–32, 301, 321

  Tree, Ronald, 232, 233

  Trow, George, 284, 287, 288, 296, 309

  Trump, Donald, 315

  Tuffin & Foale, 368n 227

  Tufo, Peter, 269

  Turbeville, Deborah, 302

  Turk Hill, Brewster, New York, 139–40, 148

  Tuxedo Park, New York, 56

  Twiggy, 233–34, 235, 236

  Updike, John, 183

  Utter, John, 270, 271

  V&A Museum, London, 273, 309–10, 313

  Valentino (Garavani), 212, 265–66, 280, 366n 211

  Van Buskirk, Margaret, 315–16, 319–20

  Vanderbilt, Alva, 15, 340n 15, 340n 18

  Vanderbilt, Consuelo. See Balsan, Consuelo Vanderbilt

  Vanderbilt, George, 17

  Vanderbilt, Heidi Murray, 203

  Vanderbilt, Mrs. Alfred Gwynne, 215

  Van Raalte, 246

  Van Rensselaer, Louisa, 69

  Vertés, Marcel, 109

  Veruschka (Vera von Lehndorff), 11, 206–10, 233, 235, 369n 235

  Vickers, Hugo, 271, 349n 76

  Vietnam War, 240–41

  Villa Diana, Katonah, New York, 22, 50–51, 53, 74, 345n 51

  Vionnet, Madeleine, 83, 84, 103, 128, 129, 279, 280, 310

  Vivier, Roger, 110, 303, 321

  Vogue (American Vogue), 2, 181–219, 362n 176; advertisers, 74–75, 253; American designers in, 183, 189, 190, 212, 228–29; article on Emily Dalziel, 62, 347n 62; Beatles, first U.S. photo in, 197; “Beautiful People” in, 215, 218–19; Blackmon at, 187–88; black supermodel in, 228; body image in, 229, 245–47; British edition on beau idéal, 1930s, 88; caftan introduced in, 215–16; Chanel and, 196; Chase as editor in chief, 74–75, 106, 109, 110, 182–83; circulation, 156, 191, 252–53;
Colin as London editor, 239; commercial success of, 190–91; Condé Nast and, 64, 74–75; Courrèges photos in, 200–201; Crespi as Italian editor, 212, 366n 211; Daves as editor in chief, 179, 180, 182–85, 186, 188, 301, 363n 183; Donovan’s boutique column, 227; Dr. Agha as art director, 107, 109, 131, 182, 191; DV and atmosphere, 186–87, 254; DV and Mirabella, 188–90, 259, 262, 264; DV arrives at, 184–85; DV as Consulting Editor, 262–66; DV as editor in chief, 1, 185–219, 223–59; DV featured in, 1933, 96–97; DV fired, 258–59; DV first in, 61, 346n 59; DV hired, 180, 181–82; DV hires Avedon, 205, 365n 205; DV publishes names of top models, 248; DV’s admirers and protégés, 187, 255, 257; DV’s breakthrough issue, 193; DV’s “Chicerino,” 195; DV’s Christmas issues, 212, 247; DV’s decline and fall, 253–59; DV’s detractors and enemies, 187–88, 253–54, 256–57; DV’s dislike of dull young women, 251; DV’s “do whatever” approach to style, 229–30, 253; DV’s editorial column, 194, 228; DV’s expenses, 254–55, 258; DV’s failures, 216–18, 252, 255; DV’s fashion philosophy and vision, 185, 187, 189, 204–5, 216, 239, 241–43, 260, 326; DV’s “Funny Girl,” 195–96, 230; DV’s ideal reader, 248; DV’s ideas and trends, 202, 213–16, 238; DV’s management style, 188, 254; DV’s memos, 237–39, 264; DV’s office, 186, 262; DV’s photo in, 1931, 91–92; DV’s predilection for body-celebrating fashion, 245–46; DV’s radical images in, 235, 369n 235; DV’s revolution at, 190–219, 228; DV’s themes of the heroine of her own life and the Girl, 194–97, 210; eclecticism of 1960s, 229–30; factions at, 191–92; feminism and, 244–45, 249–50; fiction in, 183; focus on café society, 78; French fashion in, 59; the Girl and, 194, 196, 210, 230; graphic design at, 191; hair styles, 204, 208, 238; Gypsy look, 241–42; Haslam at, 2, 181, 183; hippie-inspired fashion in, 228; Horst photos of Lady Bird Johnson, 201; iconic Veruschka in Japan shoot, 206–10, 365n 209; influence of, 74–76 239, 366n 211; internationalism and expansion of the reader’s experience, 211–16, 218; Jagger in, 198; Khanh in, 200; language of, 323; the leotard in, 203; “Les Dames de Vogue,” 83; Liberman at, 181–82, 184, 186, 191, 256–58; Mainbocher as French editor, 84; management hierarchy at, 191; Mirabella as editor in chief, 259–60, 262, 263; models for, 195, 197, 198, 206, 219, 228, 230–35, 241–42, 246 (see also Hutton, Lauren; Shrimpton, Jean; Tree, Penelope; Veruschka); modernizing of, 182; nudity and eroticism in, 246, 248, 370n 247; offices of, 181; Paris couture and, 120, 189, 190; “People Are Talking About” column, 199, 241; “People: Liberated, All Liberated” (June, 1970), 249; Philips as beauty editor, 188; photography, 74, 107, 182, 183, 184, 192, 193, 195, 200, 205, 212, 214, 216, 228, 236, 241–42, 248 (see also Avedon, Richard; Bailey, David; Horst; Penn, Irving); photo shoots in exotic places, 212, 214, 216–18, 235, 241–42, 255, 369n 235; the Pill featured in, 247; poaching Bazaar staff, 204–6, 365n 205; politics of the 1960s and, 201–2, 240–41; Quant in, 199, 200; radical images, Painted Desert shoot, 235, 369n 235; reader protests, 242–43; readership of, 74–75, 184, 235–36, 248, 251, 259–60; restrictions on content, 110; revenue drop, 253, 258, 259; Scheherazaderie issue, April 15, 1965, 214–15, 255; “As Seen by Him” column, 78, 80; Seventh Avenue designers and, 213; Snow at, 103, 106; Stern’s Marilyn Monroe shoot, 185; stodginess, prudery, 183–84; “swinging London” and new designers, 197–200; Talmey as features editor, 191–92, 198, 244; Train as Paris editor, 187; Tree featured in, 232–33; trouser suits and miniskirts in, 203; Twiggy in, 234, 235, 236; vision of, under Daves, 184; “What to Wear With Your New Boots” article, 193–94; “Who’s So Liberated, Why?” (1970), 249’; Youthquake and, 202–4, 236

  Vreeland, Alexander (grandson), 215, 304, 313–14, 317–19

  Vreeland, Daisy (granddaughter), 304

  Vreeland, Diana: admirers and protégés, 5–6, 131–34, 165–66, 187, 255, 257, 263–64, 265, 269, 284, 289–92, 307–8, 317, 321–22, 372n 264 (see also Avedon, Richard; Beaton, Cecil; Dahl-Wolfe, Louise; Haslam, Nicholas; Hughes, Fred; Lane, Kenneth Jay; Talley, André Leon); anecdote about being dragged by a taxi, 329; appearance, 2–3, 58, 69, 97, 293, 300, 303, 317–18; astigmatism and, 4, 27; Balenciaga dress, 274, 373n 274; ballet clothes and the leotard, 129–30, 203; beauty, love of, 41–42, 47; body, view of, ideal of, 37, 38, 203–4, 245–47, 343n 38; bon mots and famous remarks, 4, 5, 7, 114, 136, 145, 160, 165, 167, 169, 173, 186, 189, 192, 196–97, 198, 201, 210, 211, 216, 219–20, 238, 241, 242, 245, 259, 298, 299, 301–2, 304, 316, 319, 321, 324, 325, 328, 362n 173; books about, 6, 301–4; Brewster house, 139–40, 148; caftan and, 215–16, 224, 307; celebrity friends, 5, 134–36, 287–88, 307 (see also Capote, Truman; Warhol, Andy); character and personality, 2, 5, 94–95, 98, 132, 149, 153, 158–59, 172, 173, 208, 218, 225, 254, 255–56, 261, 265, 283, 287, 288, 289, 292, 306–7, 314, 318, 329; charisma, 2, 3, 158; Cleopatra and Scheherazade, 37, 55, 160, 214–15; color and, 166, 238; coyness about age, 11, 338n 11; decades of 1920s vs. 1960s remembered, 198–99; Deep Throat anecdote, 286; denial and avoidance by, 11, 255–56, 258, 319; detractors, 4–5, 158–59, 187–88, 253–54, 256–57; divine spark, faith in, 103, 219; eccentricity and, 5, 116, 137, 172, 239, 310; entertaining, rules for, 220–21; fame, 297, 299, 304, 307, 308; fantasy and, 255–56, 325, 328; fashion editor as creative force and, 121, 186–87; fashion ideas by and trends, 90, 121, 123, 124,, 128–30, 165, 194, 211, 213–16, 237–38, 321, 324; fashion philosophy and vision, 185, 187, 189, 204–5, 215, 239; final years and death, 297–320; 550 Park Avenue, 153–55, 219–21, 225, 269, 270, 288, 300; funeral for, 320; her “eye,” 41–42, 53, 211, 214, 308, 321; honors and accolades, 299; imaginative power, 27, 42, 73, 80, 135, 153, 160, 213, 219, 270, 283, 316, 322, 325–26; influence and importance, 1, 2, 7, 8–9, 47, 216, 239, 280, 291, 325–29; interior design and, 139, 153–55; internationalism and modernity of, 37, 76, 81, 82, 89, 90, 92, 97, 110–11, 112, 124, 193, 203, 206, 207, 208, 211–16, 218, 279, 329; Jacqueline Onassis and, 5, 27, 174–79, 296, 298, 302, 311, 314, 320; jewelry and, 165–66, 317; lateness, chronic, of, 225; lawyer for, 269; Mainbocher and, 97, 110, 157–58, 164, 270, 350n 84, 360n 157; mirror and power of the reflected image, 1, 299; name pronounced, 89–90, 111; narrative gift, 53, 89, 119; Nureyev anecdote, 247; obituaries of, 320–21; Paris as wellspring of great couture for, 85, 143, 189; perfectionism of, 76, 322; perspective of, 4, 8–9; the Pill, observations about, 245, 247–48; “pizzazz,” 119, 355n 119; posture and walk of, 2–3, 158, 187, 300; public speaking and, 161, 299; recordings of, 299–301, 303; reputation of, 181; romantic view, 223–24, 232–33, 252, 258, 261, 326; shoes and, 110, 130, 220, 360n 157; on shopping, 236–37; smoking and, 43, 55, 158, 314; stories or fantasies about herself, 5, 11–12, 22, 23, 26–27, 30–31, 32–33, 92–93, 225–26; style and “look,” 157–58, 224, 245, 287, 303, 307, 318, 360n 157; style over substance and, 39–40; tastes and preferences, 37, 38, 41, 46, 54–55, 122, 129; theatricality, 132, 216, 285; vodka drinking, 308, 314, 319; voice and laugh, 3–4, 161, 187, 300; work ethic, 123, 160, 237, 276, 294; on writing, 119

  1903–1929 (childhood and young adulthood), 11–73; adolescent unhappiness, 34

  adolescent compositions, 54–55, 346n 54; Alexandra (sister) and, 22, 28, 43, 67; appearance, 27–30, 34, 50; birth, 11–12, 21, 339n 13; birth of sons, 70; boys and young love, 44–45, 59; Buffalo Bill Cody and Wyoming trip, 32–34; citizenship and, 70; cultural influences, 46–47, 54; dancing, 35–36, 37–38, 60–61; debut, 55–56, 58–61, 346n 59; diary, 40, 41, 42, 43, 45, 48, 53, 61, 194; European trips, 25–27; fashion magazines and, 41; fashions preferred by, 61, 69; father and, 12–13, 49; financial problems and, 40–41; formation of ideas, 37, 38, 41, 54–55, 346n 54; friendships, 44, 45, 56, 60–61; “the Girl” (creation of herself), 8, 35–51, 53–55, 61, 329; godparents for, 21; grandmother and, 36, 49–51; home, Upper East Side, 22; imaginative power, 38–40, 42, 48, 54; interest in fashion, 59; maternal lineage, 14–15, 23; meets and marries Reed Vreeland, 63–68; mother and, 27–34, 36, 38, 40, 48, 50, 51, 61, 62, 72–73; mother’s death and, 72–73; move to Albany, New York (1924–1927), 69–71; move
to New York City (1904), 21; Nanny Kay and, 29–30, 49, 342n 29; New York City upper class childhood, 22–55; nightmare of, 30, 342n 30; Paris birth and her fantasy of Paris upbringing, 11, 22, 23, 25, 26, 27, 31, 180, 225–26; paternal lineage and surname, 11, 21; schooling, 30–31, 34, 35, 43–44, 53–54; self-image, 27–30, 34, 47, 58; social life, post-debut, 60–61, 63, 64, 346n 60; stylish originality noticed, 63; vision and determination, 40, 48–49, 61, 67–68; wedding (1924), 65–67; wedding dress, 67, 120

  1929–1935 (education of taste: England and the Continent), 73–102, 349n 73; Acton portrait of, 90; aspirations of l’art de vivre, 90; Beaton and, 79–80, 96; campaign of self-improvement, 88–92; Chanel and, 5, 85–88; Condé Nast and, 81–82; at Dar Nejma Ezzahra, 91–92; d’Erlanger family and, 77–78, 85, 91; designers worn, 84–88, 97; education of taste, 77–78, 81, 84; Elsie de Wolfe and, 80–81; fashion magazines and, 74–76; finances of, 74, 98; friends made, 76–82, 90–92, 98–100, 113, 124, 125, 155; Germany and, 93–94, 351n 93; “the Girl” evolution of, 82–83; home at 17 Hanover Terrace, 75–76, 81–82, 95, 101, 349n 75; at Hotel Beau-Rivage, Ouchy, Switzerland, 101–2, 353n 101; lifestyle, 74, 76, 79, 80; as a mannequin du monde, 85; married life, 89, 97–98; parenting by, 76, 95–96; Paris jaunts, 81, 92–93; presentation to King George V and Queen Mary, 82, 350n 82; psychoanalysis and, 93–94; return to America, 1935, 100–101, 102; shop opened, 98–99, 101, 352n 99; social success, 76, 81, 82, 91–92; vision and determination, 74; in Vogue, 1933

  1936–1962 (Harper’s Bazaar Years), 1, 2, 105–80; Bacall and, 134–36, 142; ballet clothes and the leotard, 129; Dahl-Wolfe and, 131–34, 136, 142, 146–47; designers patronized by, 102, 103, 110, 121, 124, 127–29, 157–58, 164–66; design ideas, 128–29, 165, 178; discovering the power of the model, 133–34, 136; Emi-Lu Kinloch visits during war years, 138–40; entertaining at 550 Park Avenue, 155; eye for young talent, 165–66; fascism and, 116–17; as fashion advisor to Jackie Kennedy, 174–79; as Harper’s Bazaar fashion editor covering New York, 1, 2, 119–37, 162–67, 173; Harper’s Bazaar hires, 1936, 102–4; Harper’s Bazaar resignation 1962, 180; fashion pronouncements, 113–15; finances of, 103, 139, 149; friends, 113–15, 139–40, 155; the Girl and, 168–69; home life and family, 137–42; as inspirational, 159–60; Kennedy’s inauguration, 179; marriage of, 141–42, 149–51; New York residences, 151, 153–55; “No Place Like Home” article, 136–37; notebook for ideas, 114–15; parodied in Funny Face, 169–70; parodied in Lady in the Dark, 136–37, 170; Reed’s infidelity, 141–42, 148, 150; Reed’s return to marriage, 1947, 148; social status and lifestyle, 124, 149–50; style and “look” of, 121, 149–50, 157–58, 167; style philosophy, 168; as “Why Don’t You?” columnist, 1, 112–19, 121, 139, 326, 354n 112; World War II and, 124–43. See also Harper’s Bazaar