Fashion loves controversy. When the ‘Devil Wears Prada’ came out, in 2003, Lauren Weisberger was regarded as a disloyal spy, who had ratted on her employers. The New York Times called the The Devil Wears Prada ‘trivially self-regarding’ and ex-colleagues of the fledgling writer, at Vogue, asked themselves the question, ‘Why should we publicise this thing?”
After script-writer, Aline Brosh Mckenna, had worked her magic, on the film version, (2006) and Meryl Streep had given a finely balanced performance as the brilliant Fashion editor, Miranda Priestly, then, perhaps, the interloping intern, Weisberger, was, partly, forgiven.
I did not expect my book to cause any such ripples. How wrong I was. Christian Dior’s Wikipedia page is currently running a line, quoting ‘Fashion Media Promotion, the new black magic’, saying that the designer was not the only Parisienne making clothes, for Nazi officers and collaborators, during the German occupation in WW2. That anyway they were doing it to keep the French Fashion industry afloat.
Fans of ‘Gone with the Wind’ hate the idea that costume designer Frances Tempest thinks the clothes were not democratically designed and that a ‘particularly repellent Salmon pink’ was featured.
A curator at the Philadelphia Museum of Art loathes my tongue-in-cheek description of Malcolm McLaren, as a Dior-scholar, and the irritating computer misspelling of Karen Dunst’s name makes one of her fans furious.
These petty squabbles and angst are a stroll in the park compared to the Vivienne Westwood museum fiasco, filmed on British Style Genius. We may all be too polite, and subtle, to raise it, but I’m still holding my breath!