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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Stability is essential to solve the pension problem

The new chancellor must ensure we have a period of stability for pension policymaking in order for everyone to acclimatise to a new era of personal responsibility in retirement, says 

There was a time when retirement seemed to take care of itself. It was normal to work, retire and then receive the state pension plus a company final salary pension, often a fairly generous figure, which also paid out to a spouse or partner on death.

That normality simply doesn’t exist for most people in 2016. There is much less certainty on what retirement looks like. The genesis of these experiences also starts much earlier. As final salary schemes fall out of favour, the UK is reaching a tipping point where savings in ‘defined contribution’ pension schemes become the most prevalent form of traditional retirement saving.

Saving for a ‘pension’ can mean a multitude of different things and the way your savings are organised can make a big difference to whether or not you are able to do what you planned in your later life – and also how your money is treated once you die.

George Osborne established a place for himself in the canon of personal savings policy through the introduction of ‘freedom and choice’ in pensions in 2015. This changed the rules dramatically, and gave pension income a level of public interest it had never seen before. Effectively the policymakers changed the rules, left the ring and took the ropes with them as we entered a new era of personal responsibility in retirement.

But what difference has that made? Have people changed their plans as a result, and what does 'normal' for retirement income look like now?

Old Mutual Wealth has just released. with YouGov, its third detailed survey of how people in the UK are planning their income needs in retirement. What is becoming clear is that 'normal' looks nothing like it did before. People have adjusted and are operating according to a new normal.

In the new normal, people are reliant on multiple sources of income in retirement, including actively using their home, as more people anticipate downsizing to provide some income. 24 per cent of future retirees have said they would consider releasing value from their home in one way or another.

In the new normal, working beyond your state pension age is no longer seen as drudgery. With increasing longevity, the appeal of keeping busy with work has grown. Almost one-third of future retirees are expecting work to provide some of their income in retirement, with just under half suggesting one of the reasons for doing so would be to maintain social interaction.

The new normal means less binary decision-making. Each choice an individual makes along the way becomes critical, and the answers themselves are less obvious. How do you best invest your savings? Where is the best place for a rainy day fund? How do you want to take income in the future and what happens to your assets when you die?

 An abundance of choices to provide answers to the above questions is good, but too much choice can paralyse decision-making. The new normal requires a plan earlier in life.

All the while, policymakers have continued to give people plenty of things to think about. In the past 12 months alone, the previous chancellor deliberated over whether – and how – to cut pension tax relief for higher earners. The ‘pensions-ISA’ system was mooted as the culmination of a project to hand savers complete control over their retirement savings, while also providing a welcome boost to Treasury coffers in the short term.

During her time as pensions minister, Baroness Altmann voiced her support for the current system of taxing pension income, rather than contributions, indicating a split between the DWP and HM Treasury on the matter. Baroness Altmann’s replacement at the DWP is Richard Harrington. It remains to be seen how much influence he will have and on what side of the camp he sits regarding taxing pensions.

Meanwhile, Philip Hammond has entered the Treasury while our new Prime Minister calls for greater unity. Following a tumultuous time for pensions, a change in tone towards greater unity and cross-department collaboration would be very welcome.

In order for everyone to acclimatise properly to the new normal, the new chancellor should commit to a return to a longer-term, strategic approach to pensions policymaking, enabling all parties, from regulators and providers to customers, to make decisions with confidence that the landscape will not continue to shift as fundamentally as it has in recent times.

Steven Levin is CEO of investment platforms at Old Mutual Wealth.

To view all of Old Mutual Wealth’s retirement reports, visit: www.oldmutualwealth.co.uk/ products-and-investments/ pensions/pensions2015/