Photographed by Horst P. Horst, Vogue, January 15, 19421/12Gloria Vanderbilt in Vogue
“When Miss Gloria Laura Vanderbilt married Mr. Pasquale DiCicco in California last month, she wore a wedding dress by Howard Greer, who also designed her trousseau. She is dark and beautiful, 17 years old, daughter of the late Reginald C. Vanderbilt and Mrs. Vanderbilt, and great-great-granddaughter of the famous Commodore Vanderbilt, founder of the clan.”
Photographed by Cecil Beaton, Vogue, April 15, 19532/12Gloria Vanderbilt in Vogue
“Mrs. Stokowski, the former Gloria Vanderbilt, and the wife of the famous conductor, has a strange beauty, slanting eyes—and an entirely new look since she cropped her famous long, black hair to a short scalloped coiffure. She is the mother of two small sons; a painter—holding her first professional exhibition in May; and among other activities is working for the Moonlight Mist Ball, to be given April 30 by Princess Gourielli, for the benefit of the New York Cancer Committee. Here, she wears a dotted silk foulard dress, with a lifting collar, designed by Leslie Morris, at Bergdorf Goodman.”
Photographed by Horst P. Horst, Vogue, December 1, 19593/12Gloria Vanderbilt in Vogue
“Tall, dark-haired, with camellia-white skin and a magnificent figure, Miss Vanderbilt wears clothes superbly, brings to fashion talent, enjoyment, a sense of drama, a feeling for colour—all, endowments that also power her career as an actress, and her other enthusiasms, writing and painting. About a year ago she started buying clothes at Mainbocher, now is hopelessly (and quite happily) enmeshed in the Mainbocher dharma. ‘To go there for a fitting is really like a ballet,’ she said recently. ‘The timing is so perfect, and there's this incredible economy of just doing what is really to the point.’”
Photographed by Frances McLaughlin-Gill, Vogue, January 1, 19624/12Gloria Vanderbilt in Vogue
“There is a curious idea cherished by some people that no truly busy woman has time for fashion. Women like Gloria Vanderbilt are forever disconcerting them. Miss Vanderbilt, to put it conservatively, is a truly busy woman. She is, in private life, the wife of the stage, movie, and TV director Sidney Lumet and the mother of two lively young sons. In addition, she has been painting seriously for years, and has had two successful one-woman shows; she is an actress whose next role will be in her husband’s movie version of an F. Scott Fitzgerald story, Rich Boy; a playwright, with a three-character play—Three by Two—scheduled for production, and another play—two characters this time—in the works. She is, what’s more, a spirited and decisive fashion personality, and bristles visibly at the suggestion that a touch of frumpishness is, somehow, one of the credentials of an active mind or a beautiful soul. She loves clothes, says ‘they’re one of the things about being a woman.’”
Photographed by Horst P. Horst, Vogue, April 15, 19665/12Gloria Vanderbilt in Vogue
“Between Mrs. Wyatt Cooper and Mainbocher, rapport is perfect and admiration mutual—‘Nobody,’ he said recently, ‘is brighter about clothes; she comes in and picks things out right away...doesn’t even try them on before she decides what she wants.’ To Mrs. Cooper, it’s Main who ‘makes it all so easy.’ You put on a Mainbocher and forget about it; it’s right and that’s that.”
Photographed by Gianni Penati, Vogue, November 15, 19676/12Gloria Vanderbilt in Vogue
“Unruffled in ruffles, an enchanting bikini dress of red-and-white cotton-dotted Swiss, worn by Mrs. Cooper who, as Gloria Vanderbilt, will follow her successful exhibition of paintings at New York’s Hammer Galleries with another one-woman show this spring. The dress—with a huge ruffly circle of shawl covering the tiniest strip of bandeau, and a long, full skirt floating down to a deep double dust ruffle—by Anne Fogarty, of William Lind cotton. The coiffure by Miss Duval of the Kenneth Salon.”
Photographed by Gianni Penati, Vogue, October 15, 19687/12Gloria Vanderbilt in Vogue
“Gloria Copper in her dressing room: Seraglio 1968...papered in violets, paved with the same paper lacquered seven times....Wearing harem pants of the same violet print. Her companion: Bird the cockatiel. Just offstage is the lacquered Victorian dressing table where she does her marvelous all-evening, no-retouching makeup....Pants and the felt vest designed by Adolfo for Mrs. Cooper; she designed the lavender cotton shirt herself, and the chains and baubles are by Kenneth Lane.”
Photographed by Jack Robinson, Vogue, August 1, 19688/12Gloria Vanderbilt in Vogue
“Gloria Vanderbilt is, as we all know, a painter. And this season her works are all collages—romantic fantasies of long-gone queens and heroines muffled in snips of silver and gold foil. When Adolfo saw the collages he thought, Of course—and whipped up this extraordinary fantasy for Gloria to wear at the opening—the skirt and bodice of silver lace sprinkled with bits of shiny fuchsia and gold paillettes, mauve faux flowers nestled at the waist—the white organdie shirt with a ruff of silver lace, the white lace sleeves laced with peek-a-boo ribbons of red/green/blue grosgrain...Mrs. Cooper looking enchanting, was enchanted: ‘It’s like a child’s idea of what a dress would look like.’ ”
Photographed by Horst P. Horst, Vogue, February 1, 19709/12Gloria Vanderbilt in Vogue
The artist photographed for a story titled, “Gloria the Great’s Patchwork Bedroom.”
Photographed by Jack Robinson, Vogue, June 197210/12Gloria Vanderbilt in Vogue
“On the street, in a room full of people, Gloria Cooper stands out. Pretty, yes—but other women are pretty. She has style. Beyond the way she ties a dime-store bandanna or arranges her necklaces—this color against that, that length against this, as though she were working out an assemblage—her presence has an intensity. Her hair is black as a paintbrush, her skin very white, and she is so slender that she seems, as was once said of Bernhardt, always to be in profile. She is opposites pulled together: casual, painstaking; reserved, open; a serious, adult painter—Gloria Vanderbilt—with a child’s gift for fantasy, which has given a new turn to her work….”
Photographed by Deborah Turbeville, Vogue, February 197511/12Gloria Vanderbilt in Vogue
“At Geoffrey Beene’s grey-and-chrome showroom, Gloria Vanderbilt wears the two-piece dress with the tiny waist and bouffant skirt (‘My most prophetic silhouette’) in a delicious little print of pink flowers on cotton batiste—the summer party dress!”
Photographed by Norman Jean Roy, Vogue, March 201612/12Gloria Vanderbilt in Vogue
Anderson Cooper and his mother, Gloria Vanderbilt, in her studio.
