This portrait of legendary fashion magazine editor Diana (“Dee-AR-na!”) Vreeland suffers from the usual hagiography when first-time directors make docos about their relatives; Lisa Immordino Vreeland is her subject’s granddaughter-in-law. Intensely private, and workaholic long before Anna Wintour (who’s curiously absent here), Vreeland seems to intimidate from beyond the grave.
Her drawling, witty voice and talent for aphorism is used liberally and enjoyably here. But in relying so heavily on archival interviews with Vreeland where she runs rings around fawning interlocutors, and her taped reminiscences to her chum, journalist George Plimpton, the film rarely penetrates her self-mythologies. Yes, Vreeland’s uncompromising creative vision was extraordinary, and is still fresh now. But her life was also complex and troubling: her ‘fast’ youth in 1920s Harlem clubs; her firing by both Harper’s Bazaar and Vogue; her odd coldness about her children and husband, Reed Vreeland, at whose funeral she wore white.
That said, I loved the film’s insight into Vreeland’s late second career: curating exhibitions at the Met’s Costume Institute. Her marvellous, immersive dream worlds made blockbusters of clothing exhibitions: their theatricality is strikingly different to the respectful historicity dominating today’s frock shows. Enthusiastic impertinence was Vreeland’s best – and most contentious – quality.
When
In cinemas November 22
Preview
Thanks to Madman, we have 5 dbl passes to give away! To enter, email brisbane.win@thethousands.com.au with the subject ‘The best thing about London was Paris’
Australian Competitions Club
