Empress of Fashion (60 page)

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

1962–1971
(
Vogue
years),
181–264; aging and, 260; Blahnik discovered by, 263–64, 372n 264; consulting work, 264–65; decline of career, 253–59; dominant theme of heroine of one's own life, 194–97; Dynel period of, 208; on editing, 192; entertaining at 550 Park Avenue, 219–21, 225; feminism and, 244–45, 260, 261; finances of, 219, 264–65; friends and, 219, 224, 264, 265; “the Girl” and, 194, 196, 209, 210, 230, 261; home life and marriage, 219–22; Hutton and Tree discovered by, 230–32; illness of 1972, 265–66; individual style and, 243, 245, 248, 253; on intellectualizing fashion, 192; internationalism and expansion of the reader's experience, 211–16, 218; Kennedy assassination, 201; Liberman accusation of drinking, 258; on Liberman's cowardice, 259; liberties with designers' work, 193–94; London
Sunday Times
article on, 239; on male identity, 245; politics and, 239–41; Reed's death and, 221–24; “swinging London” of the 1960s and fashion, 197–99;
Vogue
arrival and clash with Daves, 184–85;
Vogue
Consulting Editor, 262–66;
Vogue
editor in chief, 1, 185–219, 223–59;
Vogue
firing and reaction, 258–59, 261–62;
Vogue
hiring of, 181–82;
Vogue
severance terms, 261–62;
Vogue
vision and philosophy, 187, 241–43, 260; wildness and the 1960s, 226–27;
WWD
interview, Jan. 1963, 185; Youthquake and, 202–4, 236.
See also Vogue