Tag Archive | "Diana Vreeland"

Diana Vreeland Ruled the Fashion World by Changing It

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Diana Vreeland in the New York City she shared with her husband Thomas. Mrs. Vreeland had Billy Baldwin decorate the apartment exclusively in red. She said, "I want this place to look like a garden, but a garden in hell." Photo courtesy Guild Hall.

Diana Vreeland in the New York City she shared with her husband Thomas. Mrs. Vreeland had Billy Baldwin decorate the apartment exclusively in red. She said, “I want this place to look like a garden, but a garden in hell.” Photo by Horst P. Horst.

By Tessa Raebeck

For half a century, Diana Vreeland, the longtime editor of Vogue magazine, was at the helm of the fashion world. She played a major role in transforming the industry from commonplace, conforming trends that rotated by the decade into iconic statements that helped celebrities blossom, recognized international contributions and enabled women to wear—and show—their personality.

“The fashion world changes all the time. You can even see the approaching revolution in clothes; you can see and feel everything in clothes,” Mrs. Vreeland, who died in 1989, once said.

In “Diana Vreeland: The Eye Has to Travel,” a 2011 documentary being screened at Guild Hall in East Hampton on Monday, July 21, Mrs. Vreeland’s life and career is celebrated through a fitting selection of celebrity interviews, groundbreaking images and her trademark outlandish statements.

“She was about ideas and about the magic of fashion,” art critic John Richardson says in the film.

Diana Vreeland's office at Vogue. Photograph by James Karales.

Diana Vreeland’s office at Vogue. Photograph by James Karales.

The documentary was directed and produced by Mrs. Vreeland’s granddaughter-in-law Lisa Immordino Vreeland, Bent-Jorgen Perlmutt and Frédéric Tcheng. It was honored as an official selection at both the Venice International Film Festival and the Telluride Film Festival.

“I wanted to understand Mrs. Vreeland’s relevance,” first-time director Ms. Immordino Vreeland wrote in an email July 12. “As someone who worked in fashion for many years, I always knew about her, but only knew about her extroverted personality. What I discovered was a woman that had such depth and used fashion to communicate a philosophical message.”

Often called the “Empress of Fashion,” Mrs. Vreeland ruled the fashion world during some of its most transformative decades—which were transformative in large part due to her contributions. Her work coincided with the civil rights and women’s rights movements; she launched Twiggy, advised Jackie Onassis on her signature style and featured in Vogue the first portrait ever taken of Mick Jagger.

“Mrs. Vreeland really brought us into a modern period and knew that fashion and the world were on their way to something much more global,” fashion designer Anna Sui says in the film.

“Diana was just so far ahead,” writer Bob Colacello adds. “I mean, it wasn’t just about fashion; it was about art, it was about music and it was about society—it was all woven together.”

“She would say, you’re not supposed to give people what they want; you’re supposed to give them what they don’t know they want yet,” he added.

After moving to New York City in 1936 to follow her husband Thomas’s banking career, Mrs. Vreeland began working as a columnist for Harper’s Bazaar, a job she was asked to take on after the editor Carmel Snow noticed her style.

She stayed at the magazine until 1962, and then went on to join Vogue, where she was editor-in-chief until 1971. Following her stint leading the world’s premiere fashion magazine, Mrs. Vreeland was a consultant to the Costume Institute of the Metropolitan Museum of Art. She died in New York City in 1989 of a heart attack.

“There is no one in fashion who is like Mrs. Vreeland or anyone historically who can come close to her,” Ms. Immordino Vreeland said. “Her success in the world of fashion was the ability to give a message to people to seek for an inner meaning in life, not to accept the status quo and to push themselves to dream about the impossible. She encouraged curiosity and wanted people to be driven to passion. There are many very famous and iconic names in fashion, but none who continue to inspire people like Mrs. Vreeland.”

The film uses transcription from tapes George Plimpton recorded of his conversations with Mrs. Vreeland when they were preparing her autobiography as narration.

Mrs. Vreeland had a skill in finding the special and unique qualities in people and, rather than hiding them in the name of societal obedience, celebrating and emphasizing those distinctions.

“She saw things in people before they saw it themselves,” fashion designer Diana Von Furstenberg says in the film.

“She celebrated Barbara Streisand’s nose. She would push their faults, make it the most beautiful thing about them,” added Joel Schumacher, a director, screenwriter and producer known for films like “The Phantom of the Opera” and “St. Elmo’s Fire.”

Mrs. Vreeland spent time at the Factory and Studio 54, rubbing elbows with Warren Beatty, Jack Nicholson and Cher.

“All these people invented themselves,” Mrs. Vreeland says in the film. “Naturally, as the editor, I was there to help them along.”

“Vreeland inspired them, she had a very strong impact on them,” Calvin Klein says in the documentary.

Angelica Huston adds of her friend, “She made it okay for women to be outlandish and extraordinary.”

“Mrs. Vreeland, in a very unique manner, used fashion to dictate a way of life,” wrote Mrs. Immordino Vreeland. “For her, what was paramount in life was the freedom to ‘dare’ and she wanted everyone to do that. For her, the “outlandish and extraordinary” was an expression of the ability to be free and brave enough to do what you dream about doing.”

“Mrs. Vreeland believed in the celebration of life and in taking on everything,” the director added. “She felt that the impossible was possible to conquer if you had the belief in yourself and you had the possibility to dream; that was her motivation…She used fashion to tell a story of being unique, of standing out and of believing in oneself.”

In Mrs. Vreeland’s own words: “There’s only one really good life and that’s the life that you know you want and you make it yourself.”

The film will be screened at Guild Hall, 158 Main Street in East Hampton, on Monday, July 21, at 7 p.m. A panel discussion with filmmaker Lisa Immordino Vreeland and China Machado will follow. For more information or tickets ($15; $13 for members), call (631) 324-4050 or visit guildhall.org.


A Photographic Record of the Southampton Summer Colony

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 A young Jacqueline Bouvier leads her pony at the horse show.    Bert Morgan

By Stephen J. Kotz

When members of Southampton’s summer colony made an appearance at the horse show, the beach club or an elegant cocktail party, chances are the photographer Bert Morgan was there to catch a flattering portrayal of their arrival.

And starting this Saturday, a collection of about 30 of those photographs, featuring the a young Jacqueline Bouvier, Gary Cooper, and Henry Ford II, will be on display through October 18 at the Southampton Historical Museum’s Rogers Mansion on Meeting House Lane in Southampton Village.

“Southampton Blue Book, 1930 to 1960: Photographs by Bert Morgan” is being shown in cooperation with Patrick Montgomery, who acquired an archival trove of some 1.5 million negatives after Mr. Morgan’s death, in 1986.

The images in the show will be combined with like number of others to be published in a book of the same name.

“He was the society photographer,” said Mary Cummings, the show’s curator. “He followed them to all their favorite spots,” whether it be in New York City, Southampton, Palm Beach, or Bermuda.”

The show will include images of a young Jacqueline Bouvier at the long vanished Southampton Riding & Hunt Club. “That is going to be a highlight,” said Ms. Cummings. “There are some very cute photos of her in her equestrian outfit.”

Others who posed for Mr. Morgan, and whose photos are among those hanging in the show, are Diana Vreeland, the influential editor of Vogue, Clark Gable, Mr. Cooper and his family, one-time New York governor and presidential candidate Al Smith, and Tony Duke, who died just last week, and his brother, Angier Biddle Duke.

Mr. Morgan was able to penetrate the inner circles of high society and win his subjects’ trust with his professionalism and discretion, according to Ms. Cummings. Because he presented his subjects in a flattering way, they were all too happy to oblige him if he asked them to pose for a photo as they entered places like the Southampton Bathing Corporation.

“What is interesting is he really got to know them all. He wasn’t paparazzi, he wasn’t crashing these events, he was invited,” she continued. “He attributed his success to getting to know these people everywhere they went.”

“He wasn’t one of them, but they liked him,” Mr. Montgomery said of Mr. Morgan’s relationship with his subjects.

“Bert’s business was basically selling pictures to his subjects,” he continued. “As people came into an event, he would ask them pose. He would then send them a contact sheet and you could order prints. If you stopped ordering prints he stopped taking your photo.”

Mr. Morgan also sold prints of his high society celebrity photos to magazines such as Town & Country, Vogue and Vanity Fair. Mr. Morgan was in demand as a wedding photographer as well as being the official photographer of the New York Racing Association, which gave him still more opportunities to photograph the rich and famous with their thoroughbreds at the track.

Mr. Morgan, who was born in 1904, immigrated to the United States from England with his parents. As a young man, he bought his first camera for $7 in a pawnshop and got his start taking photographs for Chicago newspapers.

After moving to New York, he soon became a society photographer, whose career would span three distinct periods, the 400, Café Society, and the Jet Set, according to Ms. Cummings.

As the formal balls given by members of the 400 gave way to the more public, and more inclusive, entertaining of the Café Society, who gathered in fashionable hot spots like the Stork Club and extended invitations to movie stars and other performers, Mr. Morgan was there.

Early on, he used a 4-by-5-inch format camera and would cram as many glass plates as he could fit into his pockets for a shoot. When he ran out of plates, he called it a day. He later moved to standard film, but still used large format Speed Graphic cameras for some time before making the switch to smaller format film.

“People were more respectful of cameras back then,” said Mr. Montgomery of Mr. Morgan’s early years and the ease with which he was able to get people to pose for him. “As you move forward, the photos become more candid. It goes from a very formal, respectful approach to more the kind of paparazzi stuff we are used to seeing today.”

Mr. Montgomery is a documentary filmmaker who began buying the archives of photographers and filmmakers in the late 1980s. “I was a customer,” he said. “I thought it would be more fun to be on the other hand of the equation.”

After Mr. Morgan died, his son, who had joined him in the business, kept it going, but eventually decided that he wanted out. When Mr. Montgomery learned the archive was for sale, he made a deal “and drove down to Palm Beach with a truck and picked it up.”

The more than a million images were well organized “with a massive card catalog like you’d find at a public library,” he said.

“He went out and shot every day for 50 years,” Mr. Montgomery said. “He shot the rich and the famous but also the rich and not famous.”

Admission to “Southampton Blue Book, 1930 to 1960: Photographs by Bert Morgan” is free to members of the Southampton Historical Museum and $4 for adults. Young people 17 and under are admitted for free.  The Rogers Mansion at 17 Meetinghouse Lane is open from 11 a.m. to 4 p.m. Wednesday through Sunday. Ticket holders to the society’s “Insiders View of Southampton Homes” will be guests at a special preview of the Morgan exhibit on May 31 from 4:30 to 6 p.m. A public opening reception will be held at the museum on June 7 from 4 to 6 p.m. For more information, call (631) 283-2494 or visit www.southamptonhistoricalmuseum.org.