A lifetime in fashion with André Leon Talley

A new film offers a glimpse into the legendary editor's world.

André Leon Talley is holding court at the Mandarian Oriental Hotel in Barcelona.  On an elegant terrace overlooking the city, the high priest of style is taking in the views. After a life lived on the front row, André is enjoying the moment right now – sipping on an iced tea as he shares anecdotes about his grandmother’s Southern cooking and her impeccably laundered sheets.

Before diversity became fashion’s buzzword. André was there. His exuberant, fabulous presence proof that you could remake yourself in whatever image you chose to. With a fragrant turn of phrase, a discerning eye and an immaculate wardrobe, you could not only infiltrate the upper echelons – you could tell them what to wear and have them hanging off your every word.

And it’s hard not to listen when Mr Talley speaks. Like his mentor, Diana Vreeland, the former Vogue Editor-at-Large comes in the tradition of all great raconteurs – peppering his speech with joyous language and off kilter references that’ll leave your head in a spin.

We’re here for the release of The Gospel According to André – the Kate Novack directed documentary that offers an intimate portrait of his life – from a humble childhood growing up in the segregated South to the dizzy heights of high fashion at Interview Magazine, WWD and Vogue. In a reflective mood, he shares with us his candid views on the past, present and future of fashion.

Hi André, tell us about your grandmother who inspired you to follow a career in fashion?

She was a wonderful woman, she was very strong, she was very independent. A simple woman who had never read a cookbook or a gardening book but she made incredible food, grew the most amazing flowers and had great style.

She was a marvellous strong human being and role model not just to me but to all the women in my family. She was from Durham, North Carolina and lived by simple, church-going values – she gave me great confidence in myself and encouraged me to pursue whatever I was passionate about.

How did she influence your own sense of personal style?

Through her immaculate maintenance. We had very few clothes but we kept them beautifully and had them for a long time. Her laundry was perfection. We always had the most perfect white sheets which were boiled outside and stirred with a stick from the peach tree. They came out smelling so beautiful as they dried in the fresh air. Luxury was not what you had when I was growing up, it was how you kept it. We had beautiful white sheets and beautiful beds. Beautiful food. Simple luxury. I never knew anything but love growing up.

What is fabulous in fashion for your right now?

Fabulous in fashion for me right now would be Virgil Abloh at Louis Vuitton – I love his first collection – simple, minimalistic and clean. He is a pioneer. It has taken until 2018 for there to be a black designer at a luxury house in Europe at a corporate brand.

Why do you think it took so long and why do you think Virgil was the right designer?

He had the right mix of personality and contacts. He’s a modernist as a DJ and an architect and he is connected to many different worlds – music, design, art and fashion. There’s still a long way to go. There’s so many talented black people in fashion that we still don’t know about.

Thinking back to brands from the 1990s like FUBU and Cross Colours, with streetwear continuing to thrive – do you think there might be an opportunity for independently owned African American labels like this to come back?

I think it will be difficult. Any label that isn’t supported by big corporate money will find it very challenging. To be in fashion today you have to have a lot of money, like The Row. You need your own money to sustain yourself.

There’s been little room for black talent in the industry over the decades except for the supermodels. There is a lack of diversity in fashion and it’s a slow thing coming, but it is changing. It took until 2017 for Edward Enninful to be editor of British Vogue.

Do you have an interest in streetwear?

No!

How are you finding life outside of magazines?

I’m finding it refreshing. It’s hard working in fashion publishing you’re busy all the time. I’m less busy but I’m still very much involved with fashion. Now I can pick projects that I like to do. I like to curate exhibitions for museums. I can take my time now. I don’t go to fashion shows any more. I’ve seen the best, the golden age of fashion.

Looking back, what are some of your most memorable fashion shows that you’ve seen?

I’ve seen the best of Chanel, the best of Yves Saint Laurent, the best of John Galliano, the best of Givenchy. Sometimes I still make an effort to go to Tom Ford and Marc Jacobs as those are friends and they are both exceptional.

Fashion shows, particularly in America now have this business atmosphere about them. It’s exhausting and demanding. Fashion is always there for people to enjoy, but it is also good to take a break from it. I like the people who put on exquisite shows like Yves Saint Laurent or Galliano. There was nothing quite like YSL at the Hotel Intercontinental in Paris, magnificent! Also, I remember in Paris there was a black designer called Xuly Bët who was fantastic, and my friend Andre Walker who features in the film, also had these small, exciting shows.

Are there any new designers that you are excited by?

I’m excited by Laquan Smith who is up-and-coming as a designer. Beyoncé wore him on her recent tour, she has several looks from him. He’s very exciting and I’ve known him from his first show and have watched how he has evolved and matured. He comes to Paris and sells his collections to the European stores. But yet again he’s from New York and his collection should be in Barneys and in Bergdorfs – why isn’t it? It’s also the stores that are the problem. People are afraid to take risks. I don’t know if it’s because he’s a black designer. I don’t know how to address how they solve that problem because there was an era when black designers did thrive, and that was the 1970s.

What is elegant to you in 2018?

What’s elegant to me is Beyonce, Michelle Obama – she was elegant in the White House and elegant out. Rihanna. Lady Gaga. Kim Kardashian – she’s becoming a great activist and style influencer.

What music do you listen to?

Classical music. I listen to a lot of classic. Beethoven, Chopin, Bach. And also gospel music. I’m not so much of a modernist for music.

Is there anything you haven’t done yet in your career that you would like to?

I want to write my second book. I want to make a movie about my life with Will Smith playing me.

Why Will Smith?

Because he looks like me when I was young, I think he could definitely play me well.

Would you want to be really involved?

Yes of course! I also want an off Broadway play about me. Oh and I want to go on the Home Shopping Network with my own line! Because fashion doesn’t take care of you, honey.

What would the line be?

Just caftans!

Where do you get your caftans?

From Morocco, North Africa – they are custom made. Also, Tom Ford makes many of them custom for me as he is my friend. I have caftans from Ralph Rucci, Valentino, from Isabel Toledo. People just love making them for me and I love that!

Do you think the fashion capitals in the world could change?

Fashion is global today. Anywhere where people find it and want to promote is important. It’s no longer Paris, London and New York. It can be Africa, it could be Spain. I get invited all over the world but I’m obviously very busy.

Do you have any advice for emerging talents – designers and future editors in the fashion industry?

Never give up your dream and make sure you always do your home work. If you want to be a shoe designer, you need to know who the great shoe designers are from the past –André Perugia, Ferragamo, Manolo Blahnik. You need to know what your industry offers as excellence. You need to know the names who came before you. Study the past to get to the future.

Thank you André!

The Gospel according to André is in cinemas now

 

 

 

 

 

 

 

 

 

 

 

 

 

Words
Fiona Mahon