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9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
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How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
0:00 Quarter ends with Joe Johnson getting guarded by Paul George on the corner, George hesitated and gave Johnson just a short extra breath of space to breathe, and Johnson throws up a three that hits nothing but net at the buzzer. Not sure what more George could have done there, but Pacers take the lead 72 67 going into the quarter. On the offensive end what probably stood out the least and had the most impact is Paul George sneaky 3 4 from the field for nine points on the quarter. I think this is when you realize that somebody has taken the extra leap from pretty good player to absolute All Star, is when they use little energy to hit a 10 footer, 20 footer, and three at 25 feet, and you don necessarily think twice about what is taking place.
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Make sure that you might have thoroughly researched the breast ?? ??????? bulk you want to Harycover's Galeries: Toulouse, Ciel to succeed in from the breast implant surgery. How would probably be to analyze this online by examining adequate of before pictures of women who underwent the practice having the same current breast bulk you have got, and just what they announced.
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
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Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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0:00 Quarter ends with Joe Johnson getting guarded by Paul George on the corner, George hesitated and gave Johnson just a short extra breath of space to breathe, and Johnson throws up a three that hits nothing but net at the buzzer. Not sure what more George could have done there, but Pacers take the lead 72 67 going into the quarter. On the offensive end what probably stood out the least and had the most impact is Paul George sneaky 3 4 from the field for nine points on the quarter. I think this is when you realize that somebody has taken the extra leap from pretty good player to absolute All Star, is when they use little energy to hit a 10 footer, 20 footer, and three at 25 feet, and you don necessarily think twice about what is taking place.
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6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
De: http://www.buygivinglifestyle.com (http://www.buygivinglifestyle.com) dim. 12 janv. 2014 05:56:07 CET
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
De: http://www.bendbrewwerks.com (http://www.bendbrewwerks.com) dim. 12 janv. 2014 05:56:09 CET
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
De: http://www.szpitalczerniakowski.com (http://www.szpitalczerniakowski.com) dim. 12 janv. 2014 05:56:10 CET
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
De: http://www.zinarides.com (http://www.zinarides.com) dim. 12 janv. 2014 05:56:12 CET
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
De: http://www.wehaveteeshirts.com (http://www.wehaveteeshirts.com) dim. 12 janv. 2014 05:56:14 CET
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
De: http://www.colourdrapes.com (http://www.colourdrapes.com) dim. 12 janv. 2014 05:56:16 CET
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' 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For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. 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Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' 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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
De: Black Bronze Suede Christian Louboutin Sandals 100mm (http://www.sudamerikahostel.com/1186/black-bronze-suede-christian-louboutin-sandals-100mm/) dim. 19 janv. 2014 18:46:34 CET
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
De: Christian Louboutin Boots (http://www.sudamerikahostel.com/57/black-leather-christian-louboutin-boots-100mm/) dim. 19 janv. 2014 18:46:36 CET
a memoir of fashion dreamer's life in vogue
De: Riviera Leather Christian Louboutin Flats (http://www.sudamerikahostel.com/1321/riviera-leather-christian-louboutin-flats/) dim. 19 janv. 2014 18:46:39 CET
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
De: Christian Louboutin Sandals (http://www.sudamerikahostel.com/622/christian-louboutin-sandals/) dim. 19 janv. 2014 18:46:41 CET
a memoir of fashion dreamer's life in vogue
De: Jordan 2011 (http://www.extremefmxair.com/562/nike-sku-436771-001-jordan-2011-all-black/) dim. 19 janv. 2014 18:46:44 CET
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
De: Jordan 6 (http://www.extremefmxair.com/404/nike-sku-323939-991-jordan-6-vi-retro-cdp-countdown-package-617/) dim. 19 janv. 2014 18:46:49 CET
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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