toward relevance, modernity, and sexual liberation. In the wake of the legendary editor’s death in December of last year, at 92,asked her closest friends and colleagues to remember how she captured fashion for a generation.In 1969, Grace would sit at her little desk in the alcove just outside of Diana Vreeland’s office. She would welcome me when I had to be there for fittings. Grace always wore that pussycat-bow shirt under those fawny beige little sweaters.
That walk of hers! That extraordinary walk and that wonderful fur coat—a capelet of some sort. She would walk down those halls atVogue,Grace had enormous respect for the modern American woman, who was busy with her career as well as her family. She also knew this woman had style and wanted to look a certain way. I shared Grace’s vision, which is why I found her such a delight to work with.
Whenever she was having a meeting with her editors in her office, the only interruption she welcomed was a call from Bill. We would be charmed by Grace calling her husband “Billy,” and she’d shift to speaking as if nothing in the office or in the world mattered more.Arthur Elgort, photographer An unpublished Elgort image from 1976 of Mirabella , out with friends, including the photographer Helmut Newton and the models Rosie Vela , Lisa Taylor , and Patti Hansen .It was 1973 and I was about to meet the head of an empire: Grace Mirabella. I didn’t have a clue who she was, but I was being summoned toand the place was scary. I carried 18 years of insecurities and a flimsy chenille jacket with me. It was December. Dear God.
What an iconic contribution in the world of fashion!