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
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
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, 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