Tuesday, 31 May 2022

Hubert de Givenchy – Collectionneur is the compelling sale held from June 14 to 17, 2022, at Christie’s Paris and from June 8 to 23 online. The occasion to find an object that belonged to the designer, or only to enjoy a pre-sale exhibition from June 8 to 15, 2022.


 

 

 

HUBERT DE GIVENCHY – COLLECTIONNEUR: THE HIGHLY ENVIABLE AUCTION BY CHRISTIE’S

Hubert de Givenchy Collectionneur : la vente aux enchères ultra désirable de Christie's

Published by Audrey L., Rizhlaine F. · Published on 24 May 2022 at 20h01

https://www.sortiraparis.com/luxury/art-auction-sales/articles/275519-hubert-de-givenchy-collectionneur-the-highly-enviable-auction-by-christie-s/lang/en

 

Hubert de Givenchy – Collectionneur is the compelling sale held from June 14 to 17, 2022, at Christie’s Paris and from June 8 to 23 online. The occasion to find an object that belonged to the designer, or only to enjoy a pre-sale exhibition from June 8 to 15, 2022.

 

Hubert de Givenchy – Collectionneur x Christie’s: the fashion news to save in your calendar!

 

From June 14 to 17, 2022, the auction house set rue Matignon in Paris will propose an exceptional collection of 1,200 lots of masterpieces and art items. Prior to the sale, from June 8 to 15, 2022, Christie’s will invite the public to discover this precious treasure during a compelling exhibition.

 

“We are extremely honored that the family of Hubert de Givenchy has entrusted Christie's with the auction of his fine and decorative art collection, which combines his clear aesthetic vision for his interiors, with some of the most important collections in the world” – Christie’s France president Cécile Verdier.

 

Coming from two of the courturier’s most emblematic houses, the Hôtel d’Orrouer in Paris and the Château du Jonchet in the Loire Valley, the Parisian showroom will exhibit furniture, sculptures and paintings from the magnificent collection of this ambassador of French taste, fascinated by the clean classicism from the 18th century.

 

“Fashion changes, but the 18th century style will endure, as it is of exceptional quality. [Such style will endure] on the condition that it is not restrained within a fully period atmosphere… that it is given a breath of fresh air by Delaunay, Arp, and Giacometti, and above all, that it is not weighed down by pompoms and trimmings” – Hubert de Givenchy

 

Inherent to the couturier’s calling, his passions for art, decoration and gardens stem from a family and cultural heritage. Hubert de Givenchy received – among others – his unrivaled sense of detail from a great-grandfather who made sets for the Opéra de Paris, and a grandfather, collector too, and administrator of the manufacture de tapisserie de Beauvais.

 

“Through this sale, we are very pleased to be able to celebrate the exceptional taste of Hubert de Givenchy and his lifelong companion Philippe Venet. We wish to share the elegance and aesthetic heritage that they have passed on to us in order to inscribe their vision in the history of art and interior design in a universal way” – Hubert de Givenchy’s family

 

Through this compelling sale, Christie’s aims at paying tribute to Hubert de Givenchy and making his work durable. Come and enjoy this exceptional immersion into the belongings of the Haute-Couture designer!

 










Hubert de Givenchy’s Grand Collection of Decorative and Fine Arts Is Going Up for Auction

BY ELISE TAYLOR

February 2, 2022

https://www.vogue.com/article/hubert-de-givenchys-grand-collection-of-decorative-and-fine-arts-is-going-up-for-auction

 

The house of Hubert de Givenchy is going up for auction.

 

Today, Christie’s announced the June sale of over 1,100 works of art, sculpture, and furniture that once belonged to the late, great French designer. The collection, which ranges from Old Masters paintings to neoclassical armchairs, all comes from Givenchy’s palatial homes of the Hôtel d'Orrouer in Paris and the Château du Jonchet in Loire Valley. The news comes at a very à propos time: February 2, 2022 is the 70th anniversary of Givenchy’s first haute couture show in Paris.

 

Givenchy amassed his artifacts over several decades—often with the sourcing help of his dear friend, horticulturist and socialite Bunny Mellon. Cécile Verdier, president of Christie’s France, notes that Givenchy had a particular penchant for 18th century furniture. ("Fashion changes, but the 18th century style will endure, as it is of exceptional quality,” Givenchy once remarked.)

 

“There's a taste for figure and a taste for structure,” Verdier says. He rarely strayed from a strict, stylish scheme of green—his favorite color—gold, white, and black. “This very small palette of colors and very geometrical form, even if it is 18th century, results in something very timeless,” Verdier adds. Although that’s not to say everything in the collection will be old-world: Givenchy was also a collector of modern 20th century painters like Rothko, Miró, de Staël, and Picasso.

 

Before hitting the auction block, Christie’s will produce an exhibition of his collection. It will show in Palm Beach from March 5 through 26, New York City from April 15 through 23, and Hong Kong from May 26 through June 1. On June 8, it will open to the public in Paris. A dedicated online sale will begin on June 8, whereas the live sale runs from June 14 through 17. "Through this sale, we are very pleased to be able to celebrate the exceptional taste of Hubert de Givenchy and his lifelong companion Philippe Venet. We wish to share the elegance and aesthetic heritage that they have passed on to us in order to inscribe their vision in the history of art and interior design in a universal way,” the Givenchy family said in a statement.


Thursday, 26 May 2022

V&A to host exhibition on Coco Chanel’s career and designs / VIDEO 3 Oct 2020 : ‘Gabrielle Chanel. Fashion Manifesto’ Palais Galliera Exhibition — CHANEL


VIDEO - 3 Oct 2020  The first Parisian retrospective dedicated to Gabrielle Chanel in Paris, the ‘Gabrielle Chanel. Fashion Manifesto’ exhibition highlights the development of her style, the characteristics of her work, the emergence of her codes, and her contribution to the history of fashion.

 

V&A to host exhibition on Coco Chanel’s career and designs

 

Gabrielle Chanel. Fashion Manifesto will display 180 designs, jewellery, accessories and perfumes

 



Lauren Cochrane

Fri 27 May 2022 00.01 BST

https://www.theguardian.com/fashion/2022/may/27/v-and-a-exhibition-coco-chanel-fashion-manifesto

 

The V&A is to host the first ever exhibition in a major UK museum on the work of Gabrielle “Coco” Chanel, covering the career of the French designer from the opening of her first millinery boutique in Paris in 1910 to the showing of her final collection in 1971.

 

The London museum’s exhibition, Gabrielle Chanel. Fashion Manifesto, will display 180 designs as well as jewellery, accessories and perfume, and outfits created for Lauren Bacall and Marlene Dietrich.

 

And like much of Chanel’s work, the show is likely to be a blockbuster. It is organised into eight themes, and based on a show first displayed in Paris in 2020 and more recently in Melbourne. In addition to the pieces that are part of the touring exhibition, there will be outfits from the V&A’s collection which are rarely on display.

 

Chanel is widely regarded as a pioneer of modern fashion, a woman who designed for herself – a radical concept in the early 20th-century France, where women did not have the right to vote until 1944. She sought to emancipate clothes for women by making them simple, comfortable and chic, and doing away with corsets and fripperies of the era.

 

Items now known as classics – such as the “little black dress” and the Breton top – can be traced back to her work. Her perfumes – including Chanel No 5, which was first launched in 1921 – remain some of the world’s bestselling fragrances. She also had a Wildean knack for a bon mot: “fashion changes, but style endures” is a regular on Instagram feeds more than 50 years after her death.

 

Miren Arzalluz, the director of the Palais Galliera, the Parisian museum of fashion, said: “Gabrielle Chanel devoted her long life to creating, perfecting and promoting a new kind of elegance … a timeless style for a new kind of woman. That was her fashion manifesto, a legacy that has never gone out of style.”

 

Chanel undeniably changed the course of fashion, but she is considered a controversial figure. During the second world war, the Nazi officer Hans Günther von Dincklage was her lover. In 2011, the investigative reporter Hal Vaughan’s book Sleeping with the Enemy: Coco Chanel’s Secret War showed evidence that she was antisemitic and carried out work as a Nazi intelligence officer, recruiting agents across Europe. The exhibition, which is due to open in September 2023, focuses on her work, rather than life.

 

Chanel the brand remains a huge powerhouse in fashion – partly thanks to Karl Lagerfeld, who revitalised the house after Chanel’s death. In his tenure as creative director from 1984 until his death in 2021, he made Coco Chanel an icon, reimagining many of her designs, such as the 2.55 quilted bag, and by featuring her image in campaigns and imagery. With the collections currently designed by Virginie Viard, Chanel was valued at $13.2bn (£10.5bn) in 2021.


Wednesday, 25 May 2022

V&A’s Beatrix Potter: Drawn to Nature / Exhibition Review – Beatrix Potter: Drawn to Nature at the Victoria and Albert


EXHIBITION  On now until Sunday, 8 January 2023

Beatrix Potter: Drawn to Nature

Celebrating the life and work of one of the best loved children's authors of the 20th century

On now until Sunday, 8 January 2023

https://www.vam.ac.uk/exhibitions/beatrix-potter-drawn-to-nature?gclid=EAIaIQobChMIloH5n5j89wIVQoxoCR3yYgF8EAAYASAAEgJYg_D_BwE

 

The Porter Gallery

 

This family friendly exhibition takes visitors on a journey to discover Potter's life as a scientist and conservationist and explores the places and animals that inspired her most beloved characters. In collaboration with the National Trust.








Glass reviews the V&A’s Beatrix Potter: Drawn to Nature

 Charlie Newman  March 2, 2022  Culture, Exhibitions, Feature

https://www.theglassmagazine.com/glass-reviews-the-vas-beatrix-potter-drawn-to-nature/

 

Children’s author Beatrix Potter has come full circle. Potter grew up on Bolton Gardens, a short walk from the South Kensington Museum, today the Victoria and Albert museum, where we can now find Potter’s studies and stories in Beatrix Potter: Drawn to Nature.

 

Curators Annemarie Bilclough at the V&A and Helen Antrobus at the National Trust have created a family friendly space where adults and children alike can wonder at the author and illustrators world with the same set of eyes.

 

Beatrix Potter Drawn to Nature, installation image (c) Victoria and Albert Museum, London (2)Beatrix Potter Drawn to Nature. Victoria and Albert Museum, London

 

The exhibition is a much needed reminder that nature can be found and enjoyed wherever you are. While Potter preferred the countryside, a lot can still be said for the first 47 years of her life in Kensington.

 

London was where she could visit the Pre-Raphaelite Brotherhood artist, John Everett Millais at his nearby studio in Cromwell Place, where she could take art exams or frequently visit the National History museum next door.

 

At the London Zoo Potter wiled away afternoons sketching animal movements, and spent her mornings strolling along the excavated Thames, fascinated by the archaeologists Roman discoveries. Upon seeing Angela Kauffman’s Design at the Royal Academy Potter exclaimed “I never thought there could be such pictures!” inspired by “what a woman has done.”

 

It’s safe to say Potter was an inspiration herself. After complaining about always being short of money, her brother Bertrand suggested she sell her self made Christmas cards which always used to amuse the family – unsurprisingly they quickly sold out, “It is pleasant to feel I could earn my own living.”

 

Her wealth grew further when she signed a publishing deal with Frederick Warne & Co. in 1902, publishing two titles a year for a decade. The first of her 23 tales began with The Tale of Peter Rabbit, a character based on the family’s pet rabbit Peter Piper who was bought for an “exorbitant” four shillings and six pence, the equivalent of £25, on the Uxbridge road in 1892.

 

Potter referred to Peter Piper as her “quiet friend” and “affectionate companion.”

 

Indeed she sought friendship in many of her pets. In the exhibition we find a particularly memorable photograph of Beatrix with her pet rabbit Benjamin Bouncer at Bedwell Lodge, Hertfordshire in September 1891.

 

The rabbit sits in profile with a collar and lead on, whilst Potter appears to be glancing down chatting away to Bouncer, like a mother to her young child.

 

We are informed that Bouncer is a Belgian hare ‘partial to hot buttered toast and would come running at the sound of the tea bell.’ It’s these witticisms and humane flourishes paired with Potter’s sharp, articulate drawings that lift her characters out of the page and come bouncing, scurrying or leaping to life before us.

 

Over a century later it doesn’t seem too far a stretch of the imagination to envisage a mouse hastily reading a newspaper through oval spectacles, sat atop a bobbin, or a curled up hedgehog donning stone blue boots.

 

Throughout the exhibition it’s hard to believe that you are in fact looking at the works of a self taught artist. Even from the tender age of nine she was drawing like for like imagery of hippopotamus’s swimming and ambling tortoises.

 

Potter put her artistic talents down to her “irresistible desire to copy”, but Millais’s explanation seems more applicable when he explained to her that “plenty of people can draw, but you…have observation.”

 

Her observation prospered under her obsessive gathering of insects, animals, ferns and rocks, to perform taxidermy and collect animal anatomy with her brother. Potter was particularly fond of mycology, the study of fungi.

 

Aged 39 Potter took the leap from only holidaying out of London to permanently moving out when she bought Hill Top Farm in the Lake District. Once she was fully submerged in nature, her writing began to take a back seat, whilst conservation and farming took a front seat.

 

As a member of the Community Association, she helped employ district nurses and ensured traditional farming practices could survive, whilst also encouraging Girl Guides to visit, opening up the countryside for all.

 

Beatrix Potter Drawn to Nature. Victoria and Albert Museum, London.Beatrix Potter Drawn to Nature. Victoria and Albert Museum, London.

 

Her dedication to nature was unwavering and continues to thrive. Potter donated over 4000 acres and 14 working farms upon her death in 1943 to the National Trust, an organisation she described as “a noble thing, and…immortal”. It is in the final room of the exhibit where you gain perspective and begin to understand the importance of Potter’s work as an entrepreneur, farmer, conservationist and natural scientist on top of her more famous roles.

 

Whether it’s the Tale of Miss Moppet, Mrs Tiggy-Winkle, Jemima Puddle-Duck, Timmy Tiptoes or Squirrel Nutkin that transported you as a child, you can try them on for size at Drawn to Nature or peer through a microscope over the fantastical detail of a flys leg, mushroom, sheep’s wool or a dragonfly’s wing.

 

That’s if you can fight the kids of all ages off first.

 

by Charlie Newman



Friday, 20 May 2022

Return of the king: Juan Carlos’ problematic Spanish homecoming

 


Return of the king: Juan Carlos’ problematic Spanish homecoming

 

The former ruler has spent years in self-imposed exile in Abu Dhabi — but now he’s coming back.

 

BY GUY HEDGECOE

May 20, 2022 4:04 am

https://www.politico.eu/article/return-king-juan-carlos-problematic-spain-homecoming/

 

MADRID — This weekend, things could get awkward in Spain.

 

The former king, Juan Carlos I, who abdicated in 2014, returned home on Thursday evening after nearly two years in self-exile in Abu Dhabi, having fled the country under a cloud of scandal.

 

The shelving earlier this year of investigations into his finances has cleared the way for his visit. But Juan Carlos’ return to Spain, to attend a sailing regatta in the north-western town of Sanxenxo, remains controversial, highlighting how the personal stock of the former king has plummeted, tainting his own legacy and hampering the reign of his son, King Felipe VI.

 

“This is someone who did a very good job, politically, and then at the end of his reign made a series of terrible personal and professional mistakes,” said Ana Romero, an author who has written several books about the Spanish monarchy. “[In Spain] he is not having to pay a legal price for what he has done, but there are things that he has to pay for morally.”

 

The return of Juan Carlos, 84, has been rumored since March, when the supreme court closed three probes into his finances.

 

One was into a $100 million payment he received in 2008 from the Saudi royal family. The investigation decided there was no evidence that the money had been a bribe linked to the awarding of a fast-train construction contract and found that regal immunity protected him from facing tax fraud charges. A second probe found he had not benefitted in recent years from an offshore fund in Jersey. The third case, related to more than €500,000 he received from a Mexican tycoon, was closed because Juan Carlos had paid €5 million to the Spanish tax authority to clear arrears.

 

Juan Carlos took the throne in 1975, on the death of his mentor, dictator Francisco Franco, helping usher in parliamentary democracy. His reputation was cemented in 1981 when he was seen to have acted decisively in thwarting an attempted coup d’état.

 

A respectful media kept its distance and his popularity remained robust for the next few decades. But revelations in 2012 that he had been on an elephant-hunting holiday in Botswana with his lover, Corinna zu Sayn-Wittgenstein, as Spain was in the depths of the eurozone crisis, were tremendously damaging.

 

Juan Carlos abdicated two years later, but the scandals continued, culminating in his departure to Abu Dhabi in August 2020, a move instigated by his son, King Felipe VI.

 

“The decision by Felipe VI to send his father abroad was an attempt to put up a barrier between the decline of his father’s image and the crown as an institution,” said Pablo Simón, a political scientist at Madrid’s Carlos III University.

 

“But this whole plan has been a bit of a fiasco,” he added. “It looked like [Juan Carlos] was fleeing the justice system.”

 

Felipe, 54, is seen as a more austere figure and he has taken steps to make the royal family’s accounts more transparent. He has also distanced himself from his father, avoiding meeting with him last Sunday during an official visit to the United Arab Emirates. On Monday, however, they are due to meet in Madrid before Juan Carlos flies back to his residence in Abu Dhabi.

 

Felipe has not been able to prevent Juan Carlos’ personal fall from grace from eroding the crown’s image, particularly among younger voters who have no memory of the former king’s achievements. A 2021 poll found that 31 percent of those asked were in favor of the monarchy and 39 percent in favor of a republic.

 

This has placed the monarchy, unwittingly, in the political arena, making it yet another cause of division between left and right.

 

The Socialist Workers’ Party (PSOE) of the prime minister, Pedro Sánchez, has tended to put its historic republicanism to one side during the democratic era, seeing the monarchy as providing stability. But while the party continues to support the institution, it no longer defends the former head of state. Sánchez said that Juan Carlos “has to clarify all the information that we’ve been hearing about …which paints a picture of a certain kind of behavior.”

 

The junior partner in the coalition government, the far-left Unidas Podemos (UP), is more strident. Party spokesman Pablo Echenique said that the ex-king’s planned return shows that “he can commit crimes without facing penal consequences, that he can return to Spain and laugh at the Spanish people.”

 

By contrast, the conservative Popular Party (PP) has supported his decision to visit and Iván Espinosa, of the far-right Vox, said the former monarch “has nothing to hide, despite the continuous attempts by the left to single him out and falsely accuse him.”

 

As part of efforts to push back against the narrative of a lavish royal who had skirted the rules, the pro-monarchy Concordia Real Española association has published a report claiming he generated €62 billion for the Spanish economy during his reign.

 

Despite the shelving of the investigations into his finances, the legal coast is still not clear for Juan Carlos. A British court recently ruled that he cannot claim regal immunity there to avoid a possible trial brought by zu Sayn-Wittgenstein, who accuses him of waging a campaign of harassment against her after their relationship ended.

 

But it appears unlikely that the monarchy is in jeopardy — at least in the short term. Major constitutional change would require the kind of political consensus that is rarely seen in Spain.

 

“The more polarized and fragmented Spanish politics is, the more difficult it will be to gather the parliamentary support to carry out such a reform,” said Simón.


 

JEEVES / TWEEDLAND will be back in one week.

GREETINGS. / JEEVES

Saturday, 7 May 2022

The Reader: Pause in rents will be smart for Savile Row

 


The Reader: Pause in rents will be smart for Savile Row

Savile Row plea: Richard Anderson

05 May 2020

https://www.standard.co.uk/comment/letters/the-reader-pause-in-rents-will-be-smart-for-savile-row-a4432516.html

 

Covid-19 is an unprecedented challenge for our industry. We shut our shop in March and had our tailors convert living rooms, and spare bedrooms into workshops where they could continue to produce garments.

 

The efforts of my team mean we are still able to fulfil orders from loyal customers. The furlough scheme has been crucial to us not having to make redundancies. We are lobbying our landlords hard for a rent-free period which will be paramount to us being able to resume trading. When we can reopen it will be a period of challenging change: how do we practise social distancing in a hands-on environment or manage numbers of customers in the shop? We will meet these issues head-on and come out stronger on the Row.

Richard Anderson, Savile Row tailor

 

Editor's reply

Dear Richard

 It is hard to think of a sector that better embodies the values of quality personal service than Savile Row, a world renowned address for centuries. But traditional methods — lengthy measuring sessions and cutters in crowded basement workshops — are going to have to change. Some of the charm and intimacy of a Savile Row fitting will inevitably be lost. For now at least. But The Row — with the support of landlords and other stakeholders — must and will come through.

Jonathan Prynn, Consumer Business Editor

 

During furlough, as a not-forprofit charitable social enterprise operating leisure and library services in 20 London boroughs, we have no money coming in. GLL can’t afford to pay the top-up from 80 per cent to 100 per cent of pay for our 12,000 staff. We are asking all our local authority partners to do as our partners in Greenwich have done, and make good all pay packets up to 100 per cent. This will ensure the sustainability of our staff-owned trust and our contribution to public health when we can fully open again.

Mark Sesnan, CEO, GLL ​

Friday, 6 May 2022

MRS. HARRIS GOES TO PARIS Trailer (2022) Lesley Manville, Isabelle Huppert


Mrs. Harris Goes to Paris

July 15, 2022




Mrs. Harris Goes to Paris is an upcoming historical comedy-drama film directed and produced by Anthony Fabian, from a screenplay by Fabian, Carroll Cartwright, Keith Thompson, and Olivia Hetreed. It is based upon the novel Mrs. 'Arris Goes to Paris by Paul Gallico. It stars Lesley Manville, Isabelle Huppert, Lambert Wilson, Alba Baptista, Lucas Bravo, Ellen Thomas, Rose Williams, and Jason Isaacs.

Set in 1950s London, a widowed cleaning lady becomes obsessed with a couture Dior dress and embarks on an adventure to Paris.

In October 2020, it was announced Lesley Manville, Isabelle Huppert, Jason Isaacs, Lambert Wilson, Alba Baptista and Lucas Bravo joined the cast of the film, with Anthony Fabian directing and producing the film, from a screenplay he co-wrote alongside Caroll Cartwright, Keith Thompson and Olivia Hetreed, based upon the novel Mrs. 'Arris Goes to Paris by Paul Gallico, with Manville set to executive produce.

 



Principal photography began in October 2020.

 

Release

In March 2021, Focus Features acquired worldwide distribution rights to the film for around $15 million and will distribute the film in the United States, while parent company Universal Pictures will distribute internationally.[4] It is scheduled to be released theatrically on July 15, 2022, in the United States.It was originally scheduled to be released on May 6.




Tuesday, 3 May 2022

The Art of Menswear: V&A's first male fashion exhibition


V&A celebrates the art of menswear, past and present

https://savilerow-style.com/news/va-celebrates-the-art-of-menswear-past-and-present/

 




Celebrating the history of masculine attire is the subject of a current exhibition at the V&A museum. It looks at how menswear has changed over the centuries. Called The Art of Menswear, it is the first major V&A exhibition to celebrate the power, artistry and diversity of masculine attire and appearance. The show traces how menswear has been fashioned and refashioned over the centuries, and how designers, tailors and artists have constructed and performed masculinity.

 

The exhibition showcases three iconic gowns – worn by Billy Porter, Harry Styles and Bimini Bon Boulash – alongside a specially commissioned, monumental film by Quentin Jones with Cadence Films. The exhibition presents around 100 looks and 100 artworks, displayed thematically across three galleries. Contemporary looks by legendary designers and rising stars are displayed alongside historical treasures from the V&A’s collections and landmark loans: classical sculptures, Renaissance paintings, iconic photographs, and powerful film and performance. The exhibition brings together historical and contemporary looks with art that reveals how masculinity has been performed.

 

 In the 20th century an abundance of mass-produced suits bred creativity as Mods, Teddy Boys and all manner of subcultures looked to define their styles through tailoring, explored in the exhibition through garments and photography. A section on leather shows how designers like Tom Ford for Gucci, Hedi Slimane for Dior and Donatella Versace took their interest in leather to a new place, whilst a series of frock coats from the mid-nineteenth century to the present day includes examples by Prada, Alexander McQueen and Raf Simons. Redressed also includes paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun and Cecil Beaton to The Beatles and Sam Smith.

 

Tickets on sale at vam.ac.uk/masculinities

 

Monday, 2 May 2022

 



 Jack Rafferty

Julian Fellowes

The Downton Abbey creator tells Jack about the franchise's second film and whether we can expect a third instalment.

Release date:29 April 2022

https://www.bbc.co.uk/sounds/play/p0c3ytc7

Sunday, 1 May 2022

ANNA: The Biography, by Amy Odell / Is Anna Wintour Really a Tyrant, or Something Else Entirely?

 

As a child, Anna Wintour was a tomboy with no apparent interest in clothing but, seduced by the miniskirts and bob haircuts of swinging 1960s London, she grew into a fashion-obsessed teenager. Her father, the influential editor of the Evening Standard, loomed large in her life, and once he decided she should become editor in chief of Vogue, she never looked back.

 

Impatient to start her career, she left high school and got a job at a fashionable boutique in London - an experience that would be the first of many defeats. Undeterred, she found work in the competitive world of magazines, eventually moving to New York. Before long, Anna's journey to Vogue became a battle to ascend, no matter who or what stood in her way. Once she was crowned editor in chief - in one of the stormiest transitions in fashion magazine history - she continued the fight to retain her enviable position, ultimately rising to dominate all of Condé Nast.

 

Based on extensive interviews with Anna Wintour's closest friends and collaborators, including some of the biggest names in fashion, journalist Amy Odell has crafted the most revealing portrait of Wintour ever published. Weaving Anna's personal story into a larger narrative about the hierarchical dynamics of the fashion industry and the complex world of Condé Nast, Anna charts the relentless ambition of the woman who would become an icon



Account

NONFICTION

Is Anna Wintour Really a Tyrant, or Something Else Entirely?

 

It depends on whom you ask.

 

Credit...Andrew Kelly/Reuters

 


By Willy Staley

April 30, 2022

ANNA: The Biography, by Amy Odell

https://www.nytimes.com/2022/04/30/books/review/anna-the-biography-amy-odell.html

 

In the very first pages of “Anna,” a semi-authorized biography of the Vogue editor Anna Wintour, the protagonist cries. It is Nov. 9, 2016, the morning after her erstwhile pal Donald J. Trump was elected to the presidency, and Wintour is speaking at a hastily arranged all-staff meeting. In the course of inveighing against a Women’s Wear Daily article that accused her of going too far in her support for Hillary Clinton, she cracks. This sort of peek into the soul that inhabits the iconic bob and sunglasses is what the book promises. On the cover, Wintour smirks from behind her armor, her arms crossed defiantly, as if challenging the reader to pierce the veil. The author, Amy Odell, tries valiantly.

 

The book is the product of over 250 interviews and exhaustive archival research: into the letters of Wintour’s father, the Fleet Street editor Charles Wintour; into just about every fashion spread Anna put together over the course of her lengthy career, including those at the obscure Viva, a Penthouse-owned skin mag for ladies that Wintour attempted to clean up in the late ’70s. Odell even turns up a spread from a 1969 issue of a fashion magazine published by a young Richard Branson, in which Wintour, misidentified as “Anna Winter,” models the “Swinging London” styles of the day: a minidress, a trouser suit and a midriff-exposing triangle top. There are about 80 pages of footnotes, bringing the biography to a page count of nearly 450 — long, in one sense, but also about half the size of Vogue’s biggest-ever September issue.

 

Odell’s extensive reporting dredges up a wealth of delightful details: the time Wintour scandalized her boss by featuring a $9,000 goatskin trunk in New York magazine, where she also became known for throwing her pennies in the garbage; that Andy Warhol considered her a “terrible dresser”; that she would often bump into people while rounding corners at the Vogue offices because, “being a Brit, she used the other lane”; that after she went on a lunch date with Bill Gates, she told a colleague “how attractive she thought he was”; that “she once asked her photo department to retouch the fat around a baby’s neck.”

 

“Anna” is a biography with naturally completist goals, so these details are scattered across a sprawling work that sometimes, well, sprawls. And because fashion prefers the high-bred and European, names spill forth as if from a Pynchon novel: Francine du Plessix Gray, Lisa Love, Rochelle Udell, Min Hogg, Carlyne Cerf de Dudzeele, Peggy Northrop and Elisabeth von Thurn und Taxis, who descends from people who actually do feature prominently in “The Crying of Lot 49.”

 

But Odell rarely achieves sufficient altitude to situate Wintour in the flow of history — to fill in the background and the floor underneath her Manolo Blahnik shoes. Our subject does this, and our subject does that, but I wished at times that the focus on her would loosen just a bit, because Odell’s insights into how fashion magazines work (or worked) are fascinating when they arrive. (For example, sometimes editors will deliberately misattribute makeup that was used in a fashion spread to a dedicated advertiser, to keep them happy.) You’ll walk away knowing every step — and misstep — in Wintour’s famous ascent to the heights of magazinedom, but without a working theory of the case, no conceptual framework to pack it all into and remember it by.

 

One striking element of the reporting on the early stages of Wintour’s career — as a fashion editor at Harper’s Bazaar and a mostly forgotten magazine called Savvy — is how those who doubted or even fired her when she was younger later scrambled to deny it. And at times, the profound pull of her power seems to distort Odell’s efforts. I found myself underlining the insane qualifications that entered the record on Wintour’s behalf. Her former creative director Grace Coddington denies ever having quipped that André Leon Talley, the late Vogue editor at large who helped Wintour pick outfits, was “the only person who’s seen her in her underwear.” (Obviously a joke; Odell turns up a rather impressive dating history.) A former assistant says her job was so exhausting she would often lie prone on the floor when Wintour was at lunch, but adds, “It must have been a thousand times worse for Anna”; another admits that she “would also be annoyed if her coffee was late.” And yet another former colleague rebuts the claim Wintour has no sense of humor: “I know that is not true. She laughs and everything.” Wintour’s landscape architect says that a set of Times photos of the gardens at her compound on Long Island made it look too disheveled, when in fact that level of scruff actually requires constant maintenance. OK! Whatever! You almost want to splash cold water on these people’s faces.

 

Fashion people are different, of course; they all must know on some level that their power is both arbitrary and temporary — unless you’re Wintour — so both fealty and cruelty become necessary tools of the trade, to maintain order. They’re like knights or samurai in that way. But Odell doesn’t seem to have her mind made up about Wintour: Is she a cold apparatchik of this harsh industry, or an exacting, driven and visionary boss who is subject to sexist double standards? The text leans toward the latter interpretation, but includes anecdotes that provide grist for the former, and together these forces obscure as much as they reveal.

 

The resulting portrait is vexingly quantum: one moment packed with fantastic morsels of gossip, and at others strikingly obsequious. Whether Wintour really is a tyrant or something else entirely seems to depend on whom you ask — and Odell asked a lot of people. Well, you could probably say the same of a lot of editors. Even normal people, too.