Unamazing Grace

Grace Coddington's memoir is neither brutally honest nor amusingly bonkers. Thank God for the cat psychic.

Grace: a Memoir
Grace Coddington
Chatto & Windus, 416pp, £25

When I got to page 306 of Grace Coddington’s memoir, I nearly cried with excitement. The cause was these lines: “In New York, I’m cat central: absolutely everyone calls me for advice. They call me if they need to find a vet or discuss their cat’s symptoms or get the telephone number of my cat psychic.” A cat psychic! Praise be. For more than 300 long, sterile pages, I had been waiting for the kind of class-A, uncut, high-street-value nuttiness that the fashion industry does so well but . . . nada. Just endless, meandering anecdotes about minor setbacks on photo shoots, short-lived marriages and photographers being a pain in the arse.

I had expected more from Coddington, who became a well-known face outside the fashion world with the 2009 documentary The September Issue. It was ostensibly a record of Vogue’s largest ever advertising-driven autumn special edition in 2007 but what emerged instead was a portrait of the relationship between Coddington, the magazine’s creative director, and its icy editor, Anna Wintour.

The documentary contrasted the two women, who both started at Vogue on the same day in 1988. There were many shots of Wintour, implacable behind sunglasses, sitting with barely concealed impatience while designers and underlings fluttered around her. The only person who confronted her was Coddington, who emerged as the creative whirlwind behind the fashion stories that are supposedly the magazine’s core (although the documentary made it clear just how much these are secondary to the advertisers’ needs). Visually, they were opposites: Wintour whippet-thin in pristine twinsets and $600 sandals; Coddington in clomping flats and black drapery, her hair a henna-ed exclamation mark surrounding her striking face.

After the documentary, Coddington began to be recognised in the street and was signed up to write this memoir, an orange brick of a book stuffed with personal pictures, fashion photos and her illustrations. The trouble is, as Coddington admits in the endnotes, words just aren’t her thing. “I’ve barely read two books in my life that aren’t picture books,” she writes. A colleague, Michael Roberts, was drafted in to “bring my voice to life”; the result is that the passion and vivacity Coddington showed in The September Issue have been largely ironed out, like the crow’s feet from a supermodel’s face.

The raw material is there, but she seems incapable or unwilling to ponder its deeper significance, which is something of a failure for a memoir writer. For example, Coddington spent the 1960s as a model in London and Paris and the darker side of the fashion industry occasionally glimmers through. “After one wild night,” she writes, “I remember accepting a lift from Roman Polanski. He stopped short at his house and tried dragging me inside. I escaped, but had to walk the rest of the way back to my place.” Nothing more is said.

Later, when she is working at Vogue, Helmut Newton repeatedly hassles her to let him photograph her nude. Then, one day, he says: “You remember how I always wanted to do that nude before it was too late? Well, now it is.” Again, Coddington does not reflect: she moves on to write about the time Newton photographed Nadja Auermann as Leda, being raped by a taxidermied swan.

The shallowness is particularly galling as Coddington’s life has extraordinary moments. Her sister, Rosemary, became addicted to drugs and died, leaving Grace to care for her elder son, Tristan, now an orphan. The father of the younger boy, Finn, was still alive and so Finn departed to live with him. “I last saw Finn, who I believe is quite mathematically bright, at my mother’s funeral. He was 14 years old,” she writes. “I understand he still lives somewhere in Wales.” And so Finn leaves the story.

Eventually, Coddington’s crashing lack of interest in anything non-fashion-related begins to grate. On a trip to China in 1979, the main outcome of seeing first-hand the effect of communism on the country is that she ditches the “fanciful, brocaded chinoiserie-inspired clothes” she had brought for the shoot and instead dresses the model in the “plain, functional Mao suits in either khaki or blue”. It doesn’t do much to counter the criticism that the fashion industry regards other cultures as merely fodder for its dressing-up box (see also a “tribal” photo shoot later in the book showing a model with painted-on Polynesian tattoos).

My policy on this is that if you’re going to write about the fashion industry – which is beautiful and creative but also ludicrous, selfobsessed and politically unaware to the point of being offensive – without criticism, then go all out. As Tyra Banks would say, “Own it.” Yet Coddington doesn’t do this either (I suspect because her co-writer was savvy enough to cut out those bits). Hence my relief on getting to the cat psychic. That, at least, is well worth reading. I mean, the woman thinks she can talk to cats.

Grace Coddington, left, with Anna Wintour. Photo: Getty

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 10 December 2012 issue of the New Statesman, Greece: a warning for Britain?

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I dined behind the Houses of Parliament in my sexually connected foursome

My wife and I would sometimes dine out with another couple. We did not always check the significance of the date. 

I am self-employed and find that working from home, setting your own schedule, the days generally blur into each other, with weekends holding no significance, and public holidays, when those who are employed in factories, offices or shops get time off, meaning nothing. I am often surprised to go out and find the streets empty of traffic because it is some national day of observance, such as Christmas, that I wasn’t aware of. I find myself puzzled as to why the shops are suddenly full of Easter eggs or pancake batter.

Growing up in a Communist household, we had a distinct dislike for this kind of manufactured marketing opportunity anyway. I remember the time my mother tried to make me feel guilty because I’d done nothing for her on Mother’s Day and I pointed out that it was she who had told me that Mother’s Day was a cynical creation of the greetings card monopolies and the floral industrial complex.

Valentine’s Day is one of those I never see coming. It’s the one day of the year when even the worst restaurants are completely booked out by couples attempting to enjoy a romantic evening. Even those old-fashioned cafés you’ll find still lurking behind railway stations and serving spaghetti with bread and butter will tell you there’s a waiting list if you leave it late to reserve a table.

In the late 1980s my wife and I would sometimes dine out with another couple, he a writer and she a TV producer. One particular place we liked was a restaurant attached to a 1930s block of flats, near the Houses of Parliament, where the endless corridors were lined with blank doors, behind which you sensed awful things happened. The steel dining room dotted with potted palm trees overlooked a swimming pool, and this seemed terribly sophisticated to us even if it meant all your overpriced food had a vague taste of chlorine.

The four of us booked to eat there on 14 February, not realising the significance of the date. We found at every other table there was a single couple, either staring adoringly into each other’s eyes or squabbling.

As we sat down I noticed we were getting strange looks from our fellow diners. Some were sort of knowing, prompting smiles and winks; others seemed more outraged. The staff, too, were either simpering or frosty. After a while we realised what was going on: it was Valentine’s Day! All the other customers had assumed that we were a sexually connected foursome who had decided to celebrate our innovative relationship by having dinner together on this special date.

For the four of us, the smirking attention set up a strange dynamic: after that night it always felt like we were saying something seedy to each other. “Do you want to get together on Sunday?” I’d say to one of them on the phone, and then find myself blushing. “I’ll see if we can fit it in,” they’d reply, and we would both giggle nervously.

Things became increasingly awkward between us, until in the end we stopped seeing them completely. 

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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