Revisit Hilton Als on André Leon Talley, who sought “always to live up to the grand amalgamation of his three names.”
as he caught sight of a lavishly tanned young man onstage who was naked except for cowboy boots and, as his smile revealed, a retainer. “What can one do?” Talley moaned. “What can one do with such piquant insouciance? How can one live without theBefore the end of the performance, Talley led Galliano into a room on one side of the theatre, where several other men were waiting for the dancers.
It is in the production of stories he conceives on his own that Talley employs all his talents simultaneously. Before a season’s new designer collections are shown to the press, Talley visits various houses to look for recurring motifs, in order to build a story around them. During a recent season, he discerned that two or three collections featured lace.
“The papers, darling! The papers! I need a telephone number on the . . . papers! Can you believe this, child?” Talley asked of no one in particular. “I need the number of the soirée, darling,” he said, slumping in a caricature of weariness. He covered his face with his hands and moaned. Newbery picked a piece of paper off his assistant’s desk and handed it to him. Talley looked at the paper: on it was the telephone number.
André Leon Talley says he owes his desire to uphold what he calls “the world of opulence! opulence! opulence! maintenance! maintenance! maintenance!” to the late Diana Vreeland, who was the fashion editor for twenty-five years atfor eight years, and thereafter a special consultant to the Metropolitan Museum’s Costume Institute, where she mounted audacious shows on Balenciaga, the eighteenth-century woman, equestrian fashion, and Yves Saint Laurent.
Talley’s immersion in French gave him a model to identify with: Baudelaire, on whose work he wrote his master’s thesis, at Brown University in the early seventies. And it was while he was at Brown, liberated by the Baudelairean image of the flaneur, that Talley began to exercise fully his penchant for extravagant personal dress. He was known for draping himself in a number of cashmere sweaters. He was known for buying, on his teaching-assistant stipend, Louis Vuitton luggage.
His interest in romance is nostalgic, too. For him, romance is not about ending his loneliness; rather, it flows from the idea, expounded by Baudelaire, that love is never truly attained, only yearned for. Talley’s romantic yearnings are melancholic: he is susceptible to the prolonged, unrequited “crush” but is immune to involvement. He avoids engaging men he is attracted to. Generally, he is attracted to men who avoid him.
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