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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No, Jeremy Corbyn did not refuse to condemn the IRA. Please stop saying he did

Guys, seriously.

Okay, I’ll bite. Someone’s gotta say it, so really might as well be me:

No, Jeremy Corbyn did not, this weekend, refuse to condemn the IRA. And no, his choice of words was not just “and all other forms of racism” all over again.

Can’t wait to read my mentions after this one.

Let’s take the two contentions there in order. The claim that Corbyn refused to condem the IRA relates to his appearance on Sky’s Sophy Ridge on Sunday programme yesterday. (For those who haven’t had the pleasure, it’s a weekly political programme, hosted by Sophy Ridge and broadcast on a Sunday. Don’t say I never teach you anything.)

Here’s how Sky’s website reported that interview:

 

The first paragraph of that story reads:

Labour leader Jeremy Corbyn has been criticised after he refused five times to directly condemn the IRA in an interview with Sky News.

The funny thing is, though, that the third paragraph of that story is this:

He said: “I condemn all the bombing by both the loyalists and the IRA.”

Apparently Jeremy Corbyn has been so widely criticised for refusing to condemn the IRA that people didn’t notice the bit where he specifically said that he condemned the IRA.

Hasn’t he done this before, though? Corbyn’s inability to say he that opposed anti-semitism without appending “and all other forms of racism” was widely – and, to my mind, rightly – criticised. These were weasel words, people argued: an attempt to deflect from a narrow subject where the hard left has often been in the wrong, to a broader one where it wasn’t.

Well, that pissed me off too: an inability to say simply “I oppose anti-semitism” made it look like he did not really think anti-semitism was that big a problem, an impression not relieved by, well, take your pick.

But no, to my mind, this....

“I condemn all the bombing by both the loyalists and the IRA.”

...is, despite its obvious structural similarities, not the same thing.

That’s because the “all other forms of racism thing” is an attempt to distract by bringing in something un-related. It implies that you can’t possibly be soft on anti-semitism if you were tough on Islamophobia or apartheid, and experience shows that simply isn’t true.

But loyalist bombing were not unrelated to IRA ones: they’re very related indeed. There really were atrocities committed on both sides of the Troubles, and while the fatalities were not numerically balanced, neither were they orders of magnitude apart.

As a result, specifically condemning both sides as Corbyn did seems like an entirely reasonable position to take. Far creepier, indeed, is to minimise one set of atrocities to score political points about something else entirely.

The point I’m making here isn’t really about Corbyn at all. Historically, his position on Northern Ireland has been pro-Republican, rather than pro-peace, and I’d be lying if I said I was entirely comfortable with that.

No, the point I’m making is about the media, and its bias against Labour. Whatever he may have said in the past, whatever may be written on his heart, yesterday morning Jeremy Corbyn condemned IRA bombings. This was the correct thing to do. His words were nonetheless reported as “Jeremy Corbyn refuses to condemn IRA”.

I mean, I don’t generally hold with blaming the mainstream media for politicians’ failures, but it’s a bit rum isn’t it?

Jonn Elledge edits the New Statesman's sister site CityMetric, and writes for the NS about subjects including politics, history and Daniel Hannan. You can find him on Twitter or Facebook.

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