N

I

C

K

D

A

V

I

E

S

Diana Vreeland

By Nick Davies

Born in 1904, Diana relocated to New York soon after her married life began. Arriving in the USA, Diana Vreeland's ascent to New York socialite status was almost immediate. Infiltrating high society circles, Diana effortlessly dazzled those around her with her refined European taste and elegance. Her presence was quickly noted and her untapped creative potential recognised. Capturing the attention of Harper's Bazaar Editor- in - Chief Carmel Snow in late 1937, Diana was duly installed into the position of Style Columnist. Keen for the magazine to reflect the new world of the International Set and turn around the fortunes of the ailing seventy year old magazine, Carmel Snow instinctively knew the stylish Mrs Diana Vreeland would be the perfect ambassador for the publication.

Despite having never worked, Diana Vreeland abandoned her reservations and joined the Harpers Bazaar team. Given free reign over her pages from the outset, Diana placed her editorial emphasis on practicality rather than aspirational content. With America held in the grip of the great depression years, Diana was acutely aware most women were in financial dire straits and thus needed light hearted and practical advice. Savvy enough to know purchasing new clothes was not a national priority, Diana encouraged readers to be imaginative with their exisisitng wardrobes whilst emulating new exotic trends that she perceived as the future for American women.

The first column of "Why Don't You…?" written by Diana Vreeland appeared in the March 1936 edition of Harpers Bazaar. With its quirky editorial style, Diana's commentary of new, yet economical style ideas, including fashion tips, proved to be the runaway success that Harpers Bazaar desperately needed. Implementing a back to basics editorial feel to her column, Diana quickly whet the appetites of readers en masse. For example, when revolutionary fashion designer Schiaperreli began to design dresses using zippers, Diana quickly encouraged readers to follow suit. As word spread amongst American women, sales of Harper's Bazaar rocketed as readers clamoured to learn Diana's "Why Don't You…?"suggestions. Harpers Bazaar magazine was put back on track and Diana Vreeland was appointed Fashion Editor six months after her arrival at the magazine. Now commanding readers at ease with new fashion trend concepts that were rapidly becoming her signature style, the industry surrounding her took note.

Despite being considered a slightly eccentric and a forceful personality by many of her rivals, Diana Vreeland possessed the ability to persuade the image-makers that she hand picked to perceive her own fashion vision and emulate her professional standards. Always the forerunner of new ideas, Diana Vreeland was the first to explore new creative techniques and encouraged her team to think laterally. Whilst working on Harpers Bazaar magazine she once admitted, "I'm terrible on facts. But I always have an idea'. Her attention to detail was legendary - for example whilst directing fashion shoots Diana would explore every possible stylisation concept until she was personally satisfied with the finished result. Although never arriving in her office before noon, Diana transformed the fashion pages of Harpers Bazaar into the influential powerhouse of the day through astute business negotiating and meticulous training of her staff members. Over her twenty seven years at Harpers Bazaar, Diana Vreeland's innovative ideas introduced fashion trends to mainstream womenswear that are still evidently practised today; the thong sandal, sportswear pieces worn as everyday wear such as the snood, and many more. For example when the young designer Yves St Laurent unveiled animal prints as a theme within his early collections, Diana was quick to showcase the idea within her pages. Furthermore, with an array of man made fabrics developed for high fashion design by newcomers such as Paco Rabanne in the 1960s, Diana again embraced this influence within her editorial pitch.

In January 1963, Diana became Associate Editor of American Vogue and was soon made Editor - in - Chief. Here, she was to transform Vogue Magazine from a staid publication to the pinnacle of fashion journalism that it duly remains. Taking advantage of the 'youth quake' 1960s and its new emerging bank of creativity, Diana was determined to "give them what they knew they never knew they wanted." For example she chose to use more individual looking fashion models, introducing new 'faces' such as Lauren Hutton and Ali McGraw whom would emerge household names after Vogue exposure. Furthermore, from the comfort of her leopard skin decorated office, Diana instigated alternative styles of fashion photography into the pages of Vogue - by commissioning rising talent such as Avendon and David Bailey to give the fashion pages an artistic and modern edge, yet always meeting her exceptionally high standards. For example, futuristic 1960s fashion styles were commonly presented with huge visual imagination within Vogue, as Diana was keen to capture the essence of the Space Age for her readers.

After eight years of editorship, Diana's transformation of Vogue magazine was complete. On leaving, and of retirement age, Diana became adviser to the Costume Institute of the Metropolitan Museum of Art in New York City, whilst publishing her own personal work - 1977's Inventive Paris Clothes and in 1981, Allure, before her death in 1989. Today, her reputation continues to surpass those of her rivals. Despite her notoriety of seemingly impossible standards and perfection, an abundance of photographers, journalists, and designers continue to credit Diana Vrelland as the first person to launch their work.

Nick can be contacted at: nick7699@hotmail.com