Nicky Haslam

One would have thought this particular can of worms might, after nearly 80 years, be well past its sell-by date. But books about Mrs Simpson and her infatuated king appear with thudding frequency, each with some ever more far-fetched theory about this curious union. Now comes the leaden hand and leaden prose of Andrew Morton, with yet another: that Wallis was, all her life, in love with another man long before, during and after her experience of vitriolic abuse, first as the besotted prince’s obsession, then scapegoat for his abdication, and object of vilification during her years as his wife. This love (to borrow words from her step-great nephew, ‘whatever love is’) may well have been real. The man in question was Herman Rogers.

I rashly discarded this book’s dustjacket when I received it, and thus saw only the unlettered cover, a faded photograph of three generations of an aristocratic family, somewhat camera-shy in their silken breeches. Oh I see, I thought, this is one of those books on the foibles of the aristocracy, always an entertaining subject. How wrong can one be? Instead, it’s a polemic against crats aristo, auto, mono or pluto; and the author apparently yearns for any crat of a different stripe — not just demo and bureau, but mobo, neo and probably ochlo to boot. Naturally I went immediately to the index, to look up my family.

Some 30 summers ago we were staying at a famously beautiful villa outside Turin; our hostess was — indeed is — renowned for her superb taste and distilled perfection of every aspect of douceur de vivre. Each night we dined in a different sylvan setting — under inky trees, in flower-filled gardens and in 18th-century rococo salons, amid porcelain bouquets of those selfsame flowers. Another room, with candles lighting the chinoiserie panelling, is forever incised in my mind, not only for the decor but for the last course.

I don’t really care — as I’m sure you don’t either — whether Duchess Kate agrees to a photoshoot or whether Dolce and Gabbana will show up at the gala centenary dinner. But you will when you read Alexandra Shulman’s Inside Vogue: A Diary of My Hundredth Year (Penguin Fig Tree, £16.99). In a candid, introspective, generous and witty way, Vogue’s editor shows the slog, guts and diplomacy that are needed to produce the magazine — often to the detriment of family life. The eventual results of a year’s long-planned coups are page-turners.

There was a touch of Raymond Radiguet, the young literary sensation of 1920s Paris, about Tara Browne. In life poetically beautiful, poetry-imbued, tender and trusting, deliciously precocious and eerily presumptive, androgenous in looks but not desires, Tara died —‘without knowing it’, as Cocteau said of Radiguet — tragically, but given his penchant for very fast cars, unsurprisingly young. And, like Radiguet, having touched the lives of those who knew him with a kind of iridescence that remained with them more than half a century later.

Many years ago, working on a project in Tel Aviv, I had a meeting-free weekend. I know, I thought, I’ll call my friend Brigid Keenan — at that time en poste to Syria with her ambassadorial husband — and nip up to Damascus — so close, only that smidgen of Lebanon in the way. I dialled Brigid’s number. There were many odd whirrs and pings and beeps, and then, ‘Don’t ever call me’. Slam! It was an unexpected reaction from a voice I’m accustomed to hear burble merrily on about how last night their diplomatic reception was brouhaha’d because the dog puked on the First Lady of Baku’s shoes, or the joy of discovering a pink sandstone temple half buried in some hidden Kazakhstan valley, or tracking down Marmite in Outer Mongolia.

People tend to use the term ‘fashion victim’ somewhat damningly — and maybe jealously — to describe someone obsessed by the latest look. I’m not sure I agree. There’s something endearing about anyone who wants to dress in the newest style, and anyway, isn’t being up-to-date the whole point of fashion? It’s no more reprehensible than wanting the newest car, or iPhone, or flattest TV. ‘Victims’ are surely those who get it wrong — the mutton and lamb syndrome. More like what my beloved friend Melissa Wyndham called ‘fashion casualties’. But now Alison Matthews David has brass-tackled the subject.

In this autobiography, Mary Portas doesn’t dip into the fabled store of her talents by giving an account of her countrywide progress as monarch and oracle of retail, but conjures a nostalgic cornucopia of the mid- 20th-century brands and frankly cheesy TV personalities (she often dressed up as Jimmy Savile) that dazzled her youthful Hertfordshire eyes. These were rapturously set on future journeys, of which we get only one — her great leap forward from North Watford to Knightsbridge, where her undoubted brilliance as a window-dresser eventually blossomed at Harvey Nichols.

A comet streaked into France in the 1930s, its fallout sending the staid echelons of haute couture into a tailspin. A mere 30 years later a rogue missile blasted into London, blowing dainty English clothes sense to smithereens. Both these thunderbolts shot the stuffing out of cloying conventionality, one with an arrow-narrow silhouette, the other by blitzing the luxe out of luxury, the ex out of exclusivity. It’s worth studying the photographs of those two alien invaders, the subjects of these lengthy works.

Beaton was the great inventor. Apart from inventing not only himself but his look, his voice, his persona and a glamorous family, he invented the a in photography, the Edwardian period for the stage and films, the most outré of costumes, the elaborate for his rooms, a cartoon-like simplicity for his drawings, and the dream of being a playwright and painter. What he didn’t need to invent was being a writer, at which, as his many books, and particularly this one prove, he was a natural. His lifelong observance of the world around him gave him the power to describe on paper, always acutely and often superbly, landscapes, cities, colours, nature. And of course people. He was a snob but not snobbish. Alice B.

Many people write, or at least used to write, fan letters to their film favourites. Usually all they received in acknowledgement was a 10 x 8 glossy with a mimeographed signature. A little persistence sometimes resulted in another, with a brief ‘personal’ message written by the ladies toiling in the fan-club HQs. Not so for the two authors of this riveting book. The Mutti-Mewse twins, early on, became obsessed with all things Hollywood, firing off missives not just to the major stars but to every man Jill they saw or heard was connected to that once fabulous industry. They must have had a magic formula in their letters. Replies flowed back hand over fist.