Christian Dior – Julie Summers

British Vogue: The Biography of an Icon Part 3 The Cover Story

This blog is the story of the jacket of my Vogue biography. The name ‘jacket’ raised quizzical smiles in the archives at Vogue House when I mentioned it. The immediate response of the archivists was to imagine Chanel, Yves Saint Laurent or Dior, while I was thinking about how on earth to sum up the content of this survey of a century in one image. Book covers matter, whatever the old adage might tell you. Some authors are so devoted to their designer that they will countenance no one else to touch their book jackets, or in the case of paperbacks, book covers. It is their brand. For my books, given the range of dates and subjects, it has been a one at a time process. I could not, for example, have the same sort of cover for this book as I did for a book about the Bridge on the River Kwai or Mount Everest.

Book production, like everything else, has its own language and is incomprehensible to most outside the industry. Books have cases, covers and jackets. The first thing one sees after printing is the uncased version, which is simply the book’s pages. It is a white block and looks wholly uninteresting (except to the author). It is then put in a case, which is a hard cardboard sheet that is creased in the middle to provide what will become the spine. It usually has the name of the book and the author on that spine. In my case, the black case was embossed with the title in silver. And then there is the jacket, which is the shiny, thick paper that wraps around the book and makes it stand out on the bookshelves of shops, supermarkets, airport stores and anywhere else the publisher plans to make it available for sale.

Books ready to be cased and showing a sneak preview of the endpapers

My book in its cover but without its glorious jacket

Me clutching a jacket, unfolded, at Clays on 2 September

The hunt for an image started in July 2023 when Maddy Price, my editor at Orion, sent through a couple of suggestions. Neither worked. It seemed to us that any image we might pick from the remarkable collection of fashion shoots over the last 108 years would date the book to a decade, and for some eagle-eyed aficionados, to a year or month. We had a conversation about it and decided that the only thing to do was to plump for a single, bold, plain colour with the title in gold or silver. It was not a wholly satisfactory solution, so we parked it for the while. Maddy got on with editing my manuscript and I went to France for a holiday.

I had met the photographer, Willie Christie, in December 2022 when he came to Oxford, and I interviewed about his time at Vogue in the 1970s. He had a brief but productive spell as a Vogue photographer, working with Grace Coddington who was then the fashion editor. He showed me a selection of photographs that were to be included in his book, due out the following year. ‘You should come to the launch’, he suggested. On 20 September 2023 that is exactly where I was to be found: at Iconic Images Gallery in London, admiring a small selection of his beautiful photographs with my friend Deb. I was very taken by a black and white image of model singing into a microphone with a pianist in the background. It felt so Hollywood and timeless.

Marie Helvin channels old Hollywood glamour,
British Vogue 1974. Styled by Grace Coddington
photograph by Willie Christie

Deb bought me a copy of Willie Christie’s book which I read on the train on the way back to Oxford that evening. Turning page after page of stunning images my eye was caught by the shot of a model wearing a John Bates dress against a slatted background lit from behind. The more I stared at it, the more I realised I had found exactly what I was looking for: an image that was timeless, beautiful, spoke of luxury and desire but also of movement and life. Had I not spotted this when I was reading Vogue of the 1970s? As soon as I got home, I looked up the 15 March 1977 issue and there it was, on page 100. But a muddy version of this crisp and lovely image in Willie Christie’s book. I remember reading a memo by editor Beatrix Miller from around that time complaining about the quality of black and white reproduction in Vogue.

‘Hit Looks’ fashion shoot by Willie Christie, styled by Grace Coddington, *Vogue* 15 March 1977

I sent a snap of the picture to Maddy Price the next morning and received an enthusiastic thumbs up. She passed it onto designer, Chevonne Elbourne, who mocked up a version of the jacket. The thing she realised was that she had to interpret Willie Christie’s image as a portrait shot, whereas his original was a square format, shot on a Hasselblad. With bated breath I forwarded her suggestion to Willie. Would he mind us messing around with his photograph? I knew he did not like his images to be cropped, but we had gone further and removed the slats. To my inexpressible delight he gave permission for us to use Chevonne’s design, and she was able to work on what has become the final version of the book’s jacket.

I now have most beautiful book jacket in my collection of cracking good jackets – Dressed for War, Fashion on the Ration and so forth. It is an image that conjures everything this book is about: luxury, beauty and style but also movement, life, energy and humour. If you chance to look beyond the cover, you will see Chevonne’s brilliant endpapers, which bring a blast of colour in the display of Vogue covers over the last 108 years. It is a very clever juxtaposition and I am in awe of her eye.

I would like to invite you to judge this book by its cover but beyond that, it is up to you whether you like my take on Vogue’s eye view of the 20^th and 21^st centuries. I owe a huge debt of thanks to Willie Christie for allowing us to interpret his glorious image from 1977 and to Chevonne Elbourne for working her magic on this and the other images from Condé Nast Publications that are included in the book.

My three favourite jackets to date in reverse order. Fashion on the Ration was published in 2015, Dressed for War in 2020 and British Vogue, the Biography of an Icon, in October 2024.

British Vogue: the Biography of an Icon Part 1: Research and Writing

Once the lightbulb moment has faded and the idea for a book begins to take shape, there comes the biggest task of all: research. For this book it has been huge but at the same time contained. The subject matter limited the amount of secondary material I needed to find but the primary research was enormous. I read every single issue of Vogue from September 1916 to December 2023, which was the cut off after which no new material could be introduced. That constituted 1,679 issues containing roughly 70,000,000 words and 8,500 fashion shoots with some 2,000,000 images. Taken as a whole it seemed overwhelming but reading 15 issues a day made it doable. Still, that was 111 days spread over three years. I spent at least 90 of those days in the archive at Vogue House, London and the remainder at the Bodleian Library in Oxford.

Vogue House on my last visit, 9 January 2024, to look at photographs for the plates section

The only way I could handle that much material was to create a complex database which now contains a full list of every article, regular column and fashion shoot in Vogue with the names of the contributors, models, photographers, stylists and hair and make-up artists. The database also contains the names of every celebrity featured in Vogue and comprises the greatest party list of all time. Some were surprising favourites, such as David Hockney, who has appeared in the magazine regularly over the last 60 years. Others were names from the world of fashion that are immediately recognisable, from Chanel and Patou, through Dior and Yves Saint Laurent, to Jean Muir, Vivienne Westwood and Stella McCartney. A few were names that were famous briefly and are known today only to a handful of people.

Taking just one step back from the magazine, I read the archive of Beatrix Miller, editor from 1965-1986. These papers were left to the Vogue Archive after her death in 2014 and had not been read. They contained delicious behind-the-scenes anecdotes in letters from readers that she received and replied to after every issue was published. Some are what you might expect: young women asking for advice on style or how to become a model (don’t give up the day job), or how to make a career in fashion (be prepared to start at the bottom). Some were letters of complaint about features or shoots, and some were just strange: ‘Dear Miss Miller, can you give me advice on how to get flying lessons for my daughter?’ one woman wrote in 1978. She received a courteous reply giving the name and address of a flying instructor in Surrey. Going back even earlier, I read the diaries of Harry Yoxall, Condé Nast Publications Managing Director for 40 years from 1923. He kept a weekly diary and tracked the first decade of British Vogue’s life as it struggled financially. By 1930 its dominance of the world of fashion magazines was established, and I argue that it has never been knocked off the top spot.

Harry Yoxall’s diaries were written in ink or typed in both English and French. They were a joy to read.

Then there were interviews I conducted with former Vogue writers, stylists and models whose lives, in many ways, were shaped by their relationship with the magazine. The overwhelming message I got when I interviewed people was: ‘don’t mess with Vogue. It was my family.’ People were deeply passionate about working for the magazine and I found again and again the reference to the Vogue family. It struck a chord. I worked at the Royal Academy of Arts in the 1980s and still feel deeply attached to the family atmosphere of the exhibitions office even 40 years later.

Finally there was material to be gathered from the Conde Nast Archive in New York. I had been there twice in 2018 when researching my biography Dressed for War of Vogue’s wartime editor, Audrey Withers. I had had the thrill of uncovering the memos between Audrey and Edna Woolman Chase that gave me the story of Vogue’s war. As Audrey and Cecil Beaton had destroyed the British archive in 1942 in the race to salvage paper, I had to rely on New York’s holding to paint the picture of British Vogue’s early years. By luck I had made good friends with a New Jersey man who shares my passion for historical detail. Ed Morrows was willing to do research on my behalf in the CN archives. Although there was nothing there pre-1931, he found a wonderful 19 page memo by Conde Nast himself entitled ‘The British Vogue Formula Report 1933’ in which he described the entire history of the establishment of British Vogue. Without Ed’s forensic research I, and therefore my readers, would have been deprived of some salient and delightful facts.

Usually when I write a book, I conduct all the research over the course of two or three years and then sit down to write in the peace and quiet of my home in springtime. That process normally takes three to four months. This book was huge and the material so overwhelming that I decided I would have to write it in three-decade chunks as I went along. I wrote the first three chapters in the early autumn of 2021, the next three in the winter of 2022, finishing in February, just before my father died, and the remaining five chapters over the spring and summer of 2023. This meant that I ended up with a huge, unwieldy first draft with big gaps where I’d noted research might go. On 26 June 2023 I wrote in my diary: ‘Walked into Vogue House at 07:45 and read the final issues to June 2020. With that I am done with reading Brogue in London. All the other issues are here [on my shelves at home].’ I also noted that I stuffed courgette flowers for supper that night.

On Tuesday 3 July I sat down to the first day of the final edit of my biography of Vogue. ‘Started with chapter 1 and struggled to make it flow. So much info in every sentence.’ That was my major problem: too much information. How to pick out the gems and produce a narrative for my reader that would not give them intellectual indigestion. My diary over the next seven weeks is filled with three different occupations: massaging the book, chapter by chapter, into submission, rowing with my crew and cooking. There is also a note about a cover that my editor, Maddy Price, sent me to have a look at. I wrote: ‘4/10 but we can work on this.’ The story of the cover will come in a future instalment of this blog.

Diary Entry for 26 July 2023 – rowing, writing, food – usually in that order

There are many cliches to describe pulling together a draft into a manuscript, but it’s never easy. On 10 July I had a complete meltdown over chapter 5, the 1950s, but two days later I’d regained perspective and was working well on the 1960s. And so it went on, up and down, while the rest of the world carried on oblivious. Carlos Alcaraz beat Novak Djokovic in five remarkable sets at Wimbledon as I worked on the 1970s. There were record temperatures in Phoenix, Arizona of 43C over a period of 19 days and wildfires in Switzerland as I entered the 1980s. The world turned and I rowed, and edited, cooked and edited, slept and edited until, on 26 July, I recorded in my diary: ‘wrote my conclusion and fed it into the whole book: 145,013 words.’ At the beginning of August, I spent a week teaching a writing course at Lumb Bank for the Arvon Foundation. It was a good excuse to step away from the manuscript and get much needed perspective. After that, over the course of 10 days, I did a final read and edit, sending it off to Maddy Price on 30 August at 12:45 pm. Two days later I was at St Pancras Station ready to catch the Eurostar to Avignon.

There was an crisis with a lost passport (not mine) but that is an story for another day…

Tag: Christian Dior

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