The following helped secure interviews and/or provided information: Celestia Alexander-Sinclair, Doris Ammann, Ivor Braka, Jean Bickley, Gabriel Braunsberg, Mary Byrne, Beatrice Caracciolo, Alexander Cohane, Fiona DaRin, Vincent Darré, Karen Denne, Marie Donnelly, Richard Edwards, Alain Elkann, Jérôme Faillant-Dumas, Marie-Laurence Gimeno, James Green, Dominique Lacloche, Molly Laub, Amabel Lindsay, Laura Lindsay, Anna Mathias, Dr. Suzanne Neuberger, Lucien Pagès, Pierre Passebon, Nathalie Peters, Alessandro Pron, Raphaella Riboud, Cassandra Robinson, Alexandra Schoenberg, Pascal Sittler, Natascha Snellman, Silvia Sokalski, Peter Soros, Courtney Spieker, Taki Theodoracopulos, Electra Toub, Linda Van, Ron Wilson, and Tino Zervudachi.
As always, un grand merci to my network of supportive writer and artist friends: Louise Baring, Ruth Benoit, Kate Betts, Godfrey Deeny, Alicia Drake, Kathy Gilfillan, Marion Hume, Prosper Keating, William Middleton, Kate Morris, Robert O’Byrne, Mitchell Owens, Susan Owens, Sarah Raper Larenaudie, Charles Sebline, William Stadiem, Jerry Stafford, Dana Thomas, and Caroline Young.
Many thanks to Yannick Pons, the present owner of the Paris apartment where Andy always stayed.
I am indebted to Alan Davidson, paparazzo extraordinaire, who took the picture of Andy and me at Régine’s—love the snap—and other jolly ones capturing my foolish youth. You were always my fave! I am also indebted to Pamela Hanson and Jean Pigozzi for kindly allowing me to use their images. I am grateful as well to Harriet Wilson and Brett Croft at Condé Nast Archives.
A book with so many painting titles needs a knowledgeable copy editor. I was very lucky to have secured Kathleen Go. Thanks also to art director Jason Booher, jacket designer Ben Denzer, publicist Marian Brown, assistant editor Terezia Cicelova, and everyone else at Blue Rider.
Both my mother—Antonia Fraser—and Richard Edwards, one of my very best friends, were two of my first readers. I remain grateful for their comments and suggestions.
Finally, for the three Virgos in my life: Ed Victor, my wonderfully supportive agent, and my daughters Allegra and Cecilia, who remain my best creations. Both have been their good-natured selves about this book and the process.
—Paris, March 10, 2017, my (Studio) 54th birthday
NOTES
After Andy began in early March 2015. My initial idea was to write about Andy Warhol’s lasting influence and rise in the art market. I would do this by weaving in knowledge acquired from my experience working at the Warhol Studio and Interview magazine and covering the social and fashion beat for both W and Harper’s Bazaar, as well as penning a biography about Sam Spiegel, a film producer who knew Warhol but collected Picasso.
Via my agent, Ed Victor, I was introduced to David Rosenthal and Sarah Hochman at Blue Rider Press. “What about a memoir-type book?” said David. I didn’t quite get it. “You would be the Boswell and central to the story,” he said. With me positioned as an insider, it would be a book anchored by my experiences with Andy and my encounters with people post-Andy and seen through the lens of my life at the time. In Sarah’s opinion, this would “give a personal touch” and “bring so much of the internal about Andy rather than the cultural veneer that everyone is familiar with.”
After Andy is firmly not a biography about the brilliant artist. The goal behind it was to capture the importance of Europe to Warhol, his friendships with certain women, the introduction of the English Muffins, the continued Warhol effect in art, fashion, and music, and Andy’s eternal influence on other people’s lives.
And so began my return to Adventures in Warhol Land. On three occasions, I interviewed my former boss, Vincent Fremont. Thanks to his introduction, I then spoke to Peter Brant and Irving Blum. Jean Pigozzi put me in touch with Larry Gagosian. And no doubt, all these names helped when the Zurich-based Bruno Bischofberger agreed to be interviewed.
All the After Andy interviews began in New York and ended in Paris. They were conducted over a period of almost two years, from April 2015 until March 2017. There was nothing last-minute about the project, but three last-minute interviews became key: Wilfredo Rosado, Andy’s employee and almost confessor-like companion; Éric de Rothschild, a member of a family known for centuries of collecting; and Christian Louboutin, whose signature red sole was indirectly inspired by Warhol.
01 Andy’s Memorial
Andy’s memorial needed to be as visual as possible. My diaries of that period described Issy Delves Broughton, Fred Hughes, and the Warhol Studio, whereas Christophe von Hohenberg’s superb photographs brought the event back, as did his book Andy Warhol: The Day the Factory Died and Grace Glueck’s article “Warhol Is Remembered by 2,000 at St Patrick’s,” The New York Times, April 2, 1987. Regarding Andy’s final years, I interviewed Abigail Asher, Pierre Bergé, Bruno Bischofberger, Irving Blum, Peter Brant, Doris Brynner, Bob Colacello, Peter Frankfurt, Vincent Fremont, Diane von Furstenberg, Jacques Grange, Sabrina Guinness, Geraldine Harmsworth, Nicky Haslam, Catherine Hesketh, Kenneth Jay Lane, Len Morgan, Thaddaeus Ropac, Wilfredo Rosado, and Norman Rosenthal.
02 Early Years
For this chapter, I referred to “The Write Stuff,” an article I wrote for Harper’s Bazaar, June 2000, and looked at photograph albums of my mother, Antonia Fraser. Equivalent to an archaeological dig, her general wealth of material ranges from photographs to newspaper clippings to baby hair to my childhood drawings and essays. To date, I have never seen albums like hers. Since she’s a historian who has an eye and humor, they are masterpieces, an archival version of Andy’s time capsules.
03 Early Lessons in Style
To capture the tone of the period, I interviewed Nicholas Coleridge, who doubles as a bestselling author and president of Condé Nast International. I’ve known him since I was seventeen, and he continues to have an extraordinary memory. Thanks to Harriet Wilson and Brett Croft, chief archivist, I went through the Condé Nast Archives.
04 Holiday Home
Once again, I relied on my mother’s albums and my memories of Scotland, via my article “The Feminine Mystique,” commissioned by Eve MacSweeney, published in Vogue, October 2005, and my essay “Understanding Chic,” in Paris Was Ours, edited by Penelope Rowlands. I also interviewed my childhood friend Dominique Lacloche and Farah Diba Pahlavi, whose children came to Scotland when her husband, the Shah, was still in power.
05 The Bells of St. Mary’s Ascot
This chapter was achieved via my mother’s albums, my diaries, my essay “Understanding Chic,” in Paris Was Ours, edited by Penelope Rowlands, and interviews with Mary Byrne, a fellow Ascot old girl, and with Richard Edwards, who briefly worked at Biba.
06 When Harold Met Antonia
For this chapter, I drew on my mother’s book Must You Go?, which describes her relationship with Harold Pinter, as well as my diaries. That summer of 1975 brought a huge change for all of us in the family.
07 The Effect of Punk Rock on England
The photograph of Andy and Jordan has always been one of my favorites because it demonstrates how the artist understood the importance of a movement before anyone else.
To capture Jordan’s impact and charm, I quoted from Alexander Fury’s “Fashion People: The Sartorial Genius of Jordan (No, Not That One),” The Indepedent, November 30, 2013. For the Sex Pistols, I referred to conversations with Malcolm McLaren, as well as Alexis Petridis’s “Leaders of the Banned,” which appeared in The Guardian, April 13, 2002. The famous Daily Mirror heading appeared on December 2, 1976. On London in the late 1970s, I interviewed Nicky Haslam and quoted from his Ritz column in 1978.
08 Early Euphoria Under Thatcher
For Warhol’s early 1970s European years with Fred Hughes, I drew on interviews with Bruno Bischofberger, Peter Brant, Andrew Braunsberg, Peter Frankfurt, Vincent Fremont, Jacques Grange, and Clara Saint, as well as Bob Colacello’s “The House That Fred Built,” Vanity Fair, August 1993.
For Warhol’s German art market, I am indebt
ed to the expert Rudolf Zwirner, who patiently explained the situation with regard to the collector Wolfgang Hahn and his influence on Peter Ludwig, the renowned collector. I was in contact with the Hahn Archive at the Museum Moderner Kunst Stiftung Ludwig (mumok) in Vienna. Maybe something was lost in translation—it was a frustrating experience. I do hope that one day a bilingual writer will tackle that world.
For my giddy premier years in London, I relied on Nicholas Coleridge and Nicky Haslam; Louise Baring’s “Southern Comfort (Marguerite Littman),” British Vogue, May 1994; Tina Brown’s “Faster, Faster, London Girls,” Tatler, September 1980; and my portrait in “New Beauties for the Eighties—The World Is Their Oyster . . . ,” British Vogue, March 1980.
09 A Whirl with Michael J
To capture this moment, I consulted my diaries and verified information with my mother. To add flavor, I drew on these articles: Brian Vine, “Jagger Walks Out on Jerry for a Teenager,” Daily Express, November 11, 1980; “Push Off, Jerry!,” Daily Mirror, November 13, 1980; William Hickey, Daily Express, November 13, 1980; Nigel Dempster, Daily Mail, November 24, 1980; “Mick Is the Best Lover Ever—Jerry Hall,” The Sun, December 1980.
10 Discovering the Joys of a Monthly Paycheck
For my activities and relationships during this period, I drew on my mother’s photograph albums, and articles by British gossip columnists. They included Nigel Dempster, “A Perfect Teenage Hostess,” Daily Mail, March 12, 1981, and “Bubble Trouble,” April 12, 1981; Compton Miller, “Stone Love Gives the Frasers a Headache,” Evening Standard, February 24, 1981, and “Oh Natasha, Not Again!,” April 14, 1981.
11 Leaving England
Leaving England for Los Angeles was one of the most important decisions in my life. Memories flooded back via Ian Irving, and Nigel Dempster’s “Natasha Bash a Smasher,” Daily Mail, March 20, 1985. To give insight into Andy’s attitude toward Catherine Hesketh, Fred Hughes, and Anne Lambton, I interviewed Bob Colacello, Vincent Fremont, and Christopher Makos and referred to The Andy Warhol Diaries. For my years in Los Angeles, I consulted my diaries.
12 Andy Up Close
For Andy’s later years as an artist, I am indebted to the expertise of art world powerhouses Abigail Asher, Bruno Bischofberger, Peter Brant, Vincent Fremont, Larry Gagosian, Jacques Grange, Thaddaeus Ropac, and Rudolf Zwirner, as well as Robert Hughes, “The Rise of Andy Warhol,” The New York Review of Books, February 1982. To explain the English Muffin phenomenon at Warhol’s Factory, I am equally indebted to Peter Frankfurt, Vincent Fremont, Sabrina Guinness, Geraldine Harmsworth, Catherine Hesketh, Anne Lambton, Kenny Jay Lane, Christopher Mason, and Len Morgan. Reading matter included Bob Colacello’s Holy Terror, The Andy Warhol Diaries, and Phaidon’s Andy Warhol “GIANT” size.
13 Frederick W. Hughes
For Fred’s early years, I relied on André Mourges, the boyfriend of Alexander Iolas, and Bob Colacello, “The House That Fred Built,” Vanity Fair, August 1993. Otherwise, to capture his prismatic personality, I interviewed Robert Couturier, Peter Frankfurt, Vincent Fremont, Anne Lambton, Kenny Jay Lane, Christopher Makos, Len Morgan, and André Mourges, as well as Frank DiGiacomo, “A Farewell to Dapper Fred Hughes,” The New York Observer, January 29, 2001.
14 Preppy Vincent—The Only One with the Warhol Enterprises Checkbook
On Andy’s modus operandi and relationship with Interview magazine, I drew on Vincent Fremont, Christopher Makos, Len Morgan, and Wilfredo Rosado. On Andy’s untimely death and the aftermath, I relied on Ronald Sullivan, “Care Faulted in the Death of Warhol,” The New York Times, December 5, 1991; Tina Kelley, “Robert H. Montgomery Jr., 77, Entertainment Lawyer, Dies,” The New York Times, September 4, 2000; and John Taylor, “Andy’s Empire: Big Money and Big Questions,” New York, February 22, 1988.
15 Andy’s Sale at Sotheby’s
To encapsulate Andy’s richness as a collector, I interviewed Peter Frankfurt, Vincent Fremont, Jacques Grange, Catherine Hesketh, Ian Irving, Kenny Jay Lane, Louis Lefebvre, Len Morgan, and Gordon Watson. Besides my diaries, I relied on John Taylor, “Andy’s Empire: Big Money and Big Questions,” New York, February 22, 1988; Andrew Solomon, Gloss Finish (http://andrewsolomon.com/articles/gloss-finish/); The Andy Warhol Collection (Sotheby’s auction catalogue), volumes 1–6; and The Andy Warhol Diaries.
16 Andy’s Estate and Aftermath
I referred to the expertise of Abigail Asher, Bruno Bischofberger, Irving Blum, Peter Brant, Vincent Fremont, Larry Gagosian, and Thaddaeus Ropac; and Michael Brenson, “Looking Back at Warhol,” The New York Times, February 3, 1989. The Andy Warhol Diaries were essential reading to gauge the artist’s attitude to his world. I am also indebted to Carol Vogel’s articles for The New York Times that capture the general mess of Fred Hughes’s Sotheby’s sale and the Warhol estate and Warhol Foundation. These include “Still Arguing the Value of Warhol’s Estate,” June 16, 1992; “The Art Market,” April 9, 1993; “10 out of 12 Warhols Go Unsold in First of Big Spring Art Auctions,” May 4, 1993; “The Art Market,” May 21, 1993; “Value Put on Estate of Warhol Declines,” July 21, 1993.
17 Joining Andy Warhol’s Interview Magazine
For this chapter, I relied on interviews with Bob Colacello, Vincent Fremont, Len Morgan, Wilfredo Rosado, and Shelley Wanger, as well as my “Anglofile” columns for Interview, 1988–1989.
18 Life with Talcy Malcy
To capture Malcolm’s charisma and chaos, I drew on my diaries from the period and Paul Taylor’s introduction in the New Museum of Contemporary Art’s catalogue Impresario: Malcolm McLaren and the British New Wave (New York: New Museum of Contemporary Art, and Cambridge, MA: The MIT Press, 1988).
19 The Publishing of Andy’s Diaries
I discussed the effect of the publication of the diaries with Bruno Bischofberger, Bob Colacello, Peter Frankfurt, Vincent Fremont, Diane von Furstenberg, Nicky Haslam, and Catherine Hesketh, and relied also on Michael Gross, “The Satanic Diaries,” New York, May 29, 1989. On the selling of Interview magazine, I referred to the business section of The New York Times, May 9, 1989.
20 Headed for Paris
To capture this emotional moment, I relied on my diaries—I wrote so much during this period—and my column “What Ever Happened To . . . ,” published in Interview in July 1989, which concerned France’s bicentenary and inspired my move.
21 Andy, Mick, and Yves
When I arrived in Paris in 1989, it was all about Andy, Mick Jagger, and Yves Saint Laurent. To illuminate this phenomenon, I interviewed Pierre Bergé, Bob Colacello, Gilles Dufour, Jacques Grange, Nicky Haslam, Christopher Makos, and Clara Saint. I also watched Vincent Fremont’s home film of Saint Laurent being presented with his Warhol portrait. I referred as well to Bob Colacello’s Holy Terror; The Andy Warhol Diaries; Kynaston McShine, Andy Warhol: A Retrospective; and Tony Shafrazi, Carter Ratcliffe, and Robert Rosenblum’s Andy Warhol Portraits.
For the opportunity to view Fred Hughes’s former apartment in Paris, I am indebted to the present owner, Yannick Pons. Looking around and seeing Andy’s bedroom and then Fred’s gave me a sense of their existence in Paris.
22 Getting the Keys to Karl’s Kingdom
To capture the tone of the period, I relied on my diaries and drew on John Colapinto, “In the Now—Karl Lagerfeld,” The New Yorker, March 19, 2007.
23 The Chanel Studio
My diaries and Kate Betts’s My Paris Dream were the best sources for this fashion-charged chapter.
24 Chanel and Paris’s Social Swirl
To capture Andy’s social activities in Paris, I drew on interviews with Bob Colacello, Florence Grinda, and Clara Saint, as well as Kate Betts’s My Paris Dream, Bob Colacello’s Holy Terror, and Jean Pigozzi’s Catalogue Déraisonné.
25 The Reign of Frogchild
For the account of this rewarding change of employment, I relied on my diaries and these art
icles of mine from W Fashion Europe: “Lady Salisbury’s Green Thumb,” July 1991; “Château Loulou,” September 1991; and “Molly Blooms,” June 1994.
In a March 10, 2017, conversation, Taki Theodoracopulos confirmed the expression “Ayatollah of Fashion” from the 1990s, but he could not remember the publication: “I was writing for all and everyone then,” he says.
26 Warhol Land Continues to Haunt
For the time, the tone, and the characters in this chapter, I interviewed Bob Colacello and Vincent Fremont and referred to my articles: “Postcards from St. Petersburg,” January 11–13, 1993, WWD; and “Venezia Fête City,” October 1991; “Le Chic Rustique,” September 1992; “Provocative by Design,” September 1992—all for W Fashion Life.
27 Fashion’s New Guard
For this chapter, I referred to my diaries. Working at Fairchild in Paris and being friends with Christian Louboutin meant nonstop parties that I rarely missed.
28 Andy’s Flower Paintings Leading to Louboutin’s Red Soles
My diaries, Nicole Phelps’s article “Remembering John Fairchild” for Vogue.com, February 28, 2015, and Rupert Everett’s Red Carpets and Other Banana Skins were sources for this chapter. Everett’s outrageous autobiography reports the madness of the Prêt-à-Porter shoot even if I remember some details differently.
Epilogue
To bring Warhol’s career and influence together, I interviewed Bruno Bischofberger, Irving Blum, Peter Brant, Diane von Furstenberg, Larry Gagosian, Nicky Haslam, Christian Louboutin, Farah Diba Pahlavi, Norman Rosenthal, Éric de Rothschild, Suzanne Syz, and Rudolf Zwirner.
I am also indebted to David Bailey’s documentary on Warhol, In Bed with Andy. At moments, the artist is exactly like a Cheshire cat.
After Andy Page 30