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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Our union backed Brexit, but that doesn't mean scrapping freedom of movement

We can only improve the lives of our members, like those planning stike action at McDonalds, through solidarity.

The campaign to defend and extend free movement – highlighted by the launch of the Labour Campaign for Free Movement this month – is being seen in some circles as a back door strategy to re-run the EU referendum. If that was truly the case, then I don't think Unions like mine (the BFAWU) would be involved, especially as we campaigned to leave the EU ourselves.

In stark contrast to the rhetoric used by many sections of the Leave campaign, our argument wasn’t driven by fear and paranoia about migrant workers. A good number of the BFAWU’s membership is made up of workers not just from the EU, but from all corners of the world. They make a positive contribution to the industry that we represent. These people make a far larger and important contribution to our society and our communities than the wealthy Brexiteers, who sought to do nothing other than de-humanise them, cheered along by a rabid, right-wing press. 

Those who are calling for end to freedom of movement fail to realise that it’s people, rather than land and borders that makes the world we live in. Division works only in the interest of those that want to hold power, control, influence and wealth. Unfortunately, despite a rich history in terms of where division leads us, a good chunk of the UK population still falls for it. We believe that those who live and work here or in other countries should have their skills recognised and enjoy the same rights as those born in that country, including the democratic right to vote. 

Workers born outside of the UK contribute more than £328 million to the UK economy every day. Our NHS depends on their labour in order to keep it running; the leisure and hospitality industries depend on them in order to function; the food industry (including farming to a degree) is often propped up by their work.

The real architects of our misery and hardship reside in Westminster. It is they who introduced legislation designed to allow bosses to act with impunity and pay poverty wages. The only way we can really improve our lives is not as some would have you believe, by blaming other poor workers from other countries, it is through standing together in solidarity. By organising and combining that we become stronger as our fabulous members are showing through their decision to ballot for strike action in McDonalds.

Our members in McDonalds are both born in the UK and outside the UK, and where the bosses have separated groups of workers by pitting certain nationalities against each other, the workers organised have stood together and fought to win change for all, even organising themed social events to welcome each other in the face of the bosses ‘attempts to create divisions in the workplace.

Our union has held the long term view that we should have a planned economy with an ability to own and control the means of production. Our members saw the EU as a gravy train, working in the interests of wealthy elites and industrial scale tax avoidance. They felt that leaving the EU would give the UK the best opportunity to renationalise our key industries and begin a programme of manufacturing on a scale that would allow us to be self-sufficient and independent while enjoying solid trading relationships with other countries. Obviously, a key component in terms of facilitating this is continued freedom of movement.

Many of our members come from communities that voted to leave the EU. They are a reflection of real life that the movers and shakers in both the Leave and Remain campaigns took for granted. We weren’t surprised by the outcome of the EU referendum; after decades of politicians heaping blame on the EU for everything from the shape of fruit to personal hardship, what else could we possibly expect? However, we cannot allow migrant labour to remain as a political football to give succour to the prejudices of the uninformed. Given the same rights and freedoms as UK citizens, foreign workers have the ability to ensure that the UK actually makes a success of Brexit, one that benefits the many, rather than the few.

Ian Hodon is President of the Bakers and Allied Food Workers Union and founding signatory of the Labour Campaign for Free Movement.