“I want to die young—at seventy. I want to die young—at eighty. I want to die young—at ninety.” – Diane Vreeland
Green and Venice were only two of Diana Vreeland’s “obsessions,” which are retraced in “Diana Vreeland After Diana Vreeland”, an exhibition that opened March 10 and will run through June 25. It is the first major show dedicated to the extraordinary, complex and legendary fashion editor, and one that was not conceived as a retrospective but as a critical snapshot of Vreeland’s work. The exhibition showcases both Diana Vreeland’s revolutionary work at Harper’s Bazaar and American Vogue during the forties to the seventies, as well as her iconic personal style.
In her lifetime, legendary fashion editor Diana Vreeland had a passionate love affair with Venice, so it’s only fitting that the first major show devoted to her work would be housed within the lush confines of the city’s Palazzo Fortuny.
Breathe deep: in honor of Vreeland’s affinity for gorgeous scents, world-famous perfumer Frédéric Malle has created a special sandalwood fragrance that will be sprayed throughout the exhibit.
“Nothing is more marvelous than sitting at a little table in the gathering of dusk in the Piazza san Marco, the guest of six golden-bronze horses prancing away to paradise” – Diana Vreeland
On display for the first time, at Diana Vreeland After Diana Vreeland are several belonging to Vreeland stunning and precious pieces from luminaries such as Yves Saint Laurent, Missoni, Emilio Pucci, Chanel, Irene Galitzine, Valentino, and Paco Rabanne, some culled from Vreeland’s own closet and some on loan from private collections or the Metropolitan Museum of Art’s Costume Institute, where Vreeland was a consultant from 1971 until her death in 1989, as well as books and magazines from the editor’s library and portraits by Christian Bérard and Cecil Beaton.
During her tenure at the Met, she organized multiple exhibitions and helped shape the course of this acclaimed wing in one of the world’s greatest museums. During her years at Harper’s Bazaar and Vogue, Vreeland was instrumental in ushering in a new, more casual era of fashion, discovering influential stars such as Lauren Bacall and Edie Sedgwick.
Diana Vreeland After Diana Freeland was curated by Maria Luisa Frisa and Judith Clark, was commissioned by Lisa Immordino Vreeland and coordinated by Daniela Ferretti and it explores the many sides of her work and seeks to offer a fresh approach with which to interpret the elements of her style and thinking.
“I don’t think anybody has been in a better place at a better time than I was when I was editor of Vogue. Vogue always did stand for people’s lives. I mean, a new dress doesn’t get you anywhere: it’s the life you’re living in the dress, and the sort of life you had lived before, and what you will do in it later. Like all great times, the sixties were about personalities. It was the first time when mannequins became personalities. It was a time of great goals, an inventive time… and these girls invented themselves. Naturally, as an editor I was there to help them along”.