Free PDF Searching for Beauty: The Life of Millicent Rogers, the American Heiress Who Taught the World About Style, by Cherie Burns
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Searching for Beauty: The Life of Millicent Rogers, the American Heiress Who Taught the World About Style, by Cherie Burns
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A fascinating portrait of the Standard Oil heirerss and legendary American trendsetter Millicent Rogers
Nobody knew how to live the high life like Millicent Rogers. Born into luxury, she lived in a whirl of beautiful homes, European vacations, exquisite clothing and handsome men. In Searching for Beauty, Cherie Burns chronicles Rogers's glittering life from her days as a young girl afflicted with rheumatic fever to her debutante debut and her Taos finale. A rebellious icon of the age, she eloped with a penniless baron, danced tangos in European nightclubs, divorced, remarried and romanced, among others, Clark Gable. Her romantic conquests, though, paled in comparison to her triumph in the fashion world where she electrified the fashionistas by becoming the muse to designer Charles James, appearing in Vogue and Harper's Bazaar and - at the end of her life - retreating to Taos, New Mexico where she popularized Southwestern style. With Searching for Beauty, Millicent Rogers enters the pantheon of great American women who, like Diana Vreeland and Babe Paley, put their distinctive stamp on American Style.
- Sales Rank: #871380 in Books
- Brand: St Martins Press
- Published on: 2011-09-13
- Released on: 2011-09-13
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 9.54" h x 1.35" w x 6.47" l, 1.35 pounds
- Binding: Hardcover
- 384 pages
Review
“Millicent Rogers is truly an American Legend and Cherie Burns has finally given us a wonderful biography about her!” ―Diane Von Furstenberg
“What a fabulous life! Rogers was an American original who charged through her wildly varied career with coruscating originality and maximum style. Hers was a high-wire act of glamour, art, philanthropy, and rapier smarts. With this fine biography, Cherie Burns makes it abundantly clear that, in our sorry age of Paris Hilton brats, they just don't make heiresses like Millicent Rogers anymore.” ―Hampton Sides, bestselling author of "Blood and Thunder"
“Cheri Burns has given us a glittering tale of Millicent Rogers, one of the most glamorous women of the twentieth century. Anyone who is interested in the annals of high society will be fascinated with this book. Burns has reached far beyond the gossip of how the very rich live and produced an intimate and deeply personal view of Millicent Rogers, her family and her unending search for love and beauty.” ―Adam Lewis, author of The Great Lady Decorators, Billy Baldwin, Albert Hadley and Van Day Truex
“Standard oil heiress and fashion icon Millicent Rogers, a beauty who traveled with thirty-five suitcases and seven dachshunds, made headlines throughout her life for her famous romances and influence as a style-setter. Cherie Burns has written a page-turning tale of a society rebel.” ―Meryl Gordon, author of Mrs. Astor Regrets
About the Author
CHERIE BURNS is the author of The Great Hurricane: 1938. Her work has also appeared in The New York Times Magazine, People, Glamour, New York, and other publications. She lives in Taos, New Mexico.
Excerpt. © Reprinted by permission. All rights reserved.
CHAPTER ONE
Farewell to an Heiress
JANUARY 1953
The procession of mourners wound along the rutted unpaved road toward a weedy little graveyard next to Indian land. Behind it tolled the bells of Our Lady of Guadalupe Church in town; ahead of it rose Taos Mountain, the Sacred Mountain, all white with its peak hidden in the clouds. Brightly colored plastic flowers, indigenous to Spanish gravesites, bloomed from decorated crosses and gravestones in the high-desert resting place for local Spanish families and anglos. Millicent Rogers, in a manner as improbable yet fitting as so much of her unsettled life, was going home.
Taos, New Mexico, had long captivated artists, bohemians, scamps, and freethinking souls from elsewhere, who settled into its hive of quirky adobe houses at the feet of the Sangre de Cristo Mountains. Millicent Rogers had finally been one of them. She had been one of the most beautiful and richest women in America, perhaps the world. The toast of barons, industrialists, and royalty for almost five decades, she was known and admired in the fashion ateliers of Paris, London, and New York. Her face and fashions had appeared in Vogue and Harper’s Bazaar all her life. She had loved a constellation of spectacular men. Now that the grand arc of her life had come to an end she was laid, as she requested, with her head facing Taos Mountain, next to the pueblo village and Indian people whom she had fallen nearly desperately in love with during the last six years of her life.
One mourner, the critic and writer William Goyen, wrote of the day,
The ceremony was a dreadful small-town ceremony in the graveyard produced by the local funeral home.… A sort of Muzak chimed a mawkish hymn. We all gathered round while the priest said his words, and a brilliant game rooster suddenly leapt to a fence just to one side of the grave and crowed. When the brief ceremony was over, Benito, the young Indian who had been in love with Millicent—wild, with flowing black hair to his shoulders, and flowers in his hair, and bedecked with bracelets, necklaces, beads, and drunk—and who had been held back, sullen and grief-stricken until now, rushed from the background and broke through the crowd toward the grave, crying out. But he was caught and held back by other Indians.1
Goyen’s cosmopolitan eye noted that the funeral was attended by “the rich and celebrated from various parts of the world.” One English aristocrat, Dorothy Brett, got her car ahead of the hearse and out of grief or her own haphazard driving habit, zigzagged the whole procession along the road.
Millicent’s three sons had come: the eldest, wearing a cutaway suit, was the product of her ill-fated elopement with an Austrian nobleman when she was twenty-one, the other two were sons from her second marriage to an Argentine aristocrat that had also ended in divorce. Millicent’s mother, Mary Rogers, a dowager from the East Coast, had arrived after a three-day train trip in her own railroad car, a legacy from a life underwritten by an oil and railroad fortune that had also richly funded her daughter’s stylish life. The funeral was postponed for several days to allow for her arrival. Mary had quietly asserted that under these circumstances the rail companies could accommodate her request to make the trip without a train change, and they had.
There was a certain incongruity for the writer Goyen, and perhaps to others on the scene, that these people of pedigree and wealth were gathered together to say their good-byes to a high-flying daughter, mother, friend, and lover as she was lowered into such a humble gravesite. Yet she had toward the end of her life taken refuge, sought peace and beauty, in elemental things. Her quest had led her to Taos. Though true happiness seemed always to elude her, Millicent claimed to her youngest son in a letter months before her death, an event she felt approaching at age fifty, that she was finally at peace. It would offer some comfort to her survivors.
Her life, like her funeral, had been distinctive, even unpredictable. During her time in Taos, she had deliberately befriended the Indians from the pueblo and they came to her funeral in numbers unprecedented to mourn the death of an outsider. Draped in the colorful blankets that they wore against the cold in winter and for celebrations, they appeared to bid her safe journey to the afterlife and farewell, in a rainbow of reds, blues, and yellows, their shiny black hair drawn back into buns and plaits, their heads bowed. They stood respectfully in a riot of color against the wide, Western winter sky.
Millicent was dressed as finely in her mahogany coffin as she had been in life. She wore an Apache-style dress made for her by her designer friend and fashion legend Elsa Schiaparelli. A great silver concho belt was twined at her waist. The large, mostly turquoise, rings that she favored were on her hands and a fine Indian chief blanket was wrapped around her. There was a brief Catholic ceremony. In a late life conversion, Millicent had become a Catholic the week before her death. After Benito’s display of grief, most of the mourners looked away or hurried to their cars to leave.
For almost no one who left the Sierra Vista Cemetery on that day, had Millicent Rogers truly been put to rest. Her life and image would be reflected for decades to come through her vast belongings, words, old photographs, and history. She would be reinvented again and again by the fashion world, which she influenced in almost equal parts in life and after death. She cast a long shadow even from the grave on her family, and her three sons would variously strive to uphold, repudiate, and re-create her legend. With each subsequent year, her true self would seem to fade and grow faint, like a photograph exposed to the harsh New Mexican sun, while her heirs continued to retouch it. It would become more and more difficult to separate the truths of her life from the myth, especially because in life Millicent had been a restless soul, one who seldom stayed for long in one place. She was mistress of the grand gesture and exercised a practiced inscrutability, which no doubt accounted for much of her allure.
Her life arched over half a century of American history and across two continents. Born in the Edwardian era, she died just as the first signs of the upheaval of the sixties were visible on Taos’s funky horizon. The beginning of her remarkable trajectory, like the origin of so many American sagas of the twentieth century, lay in the crystallization of wealth that produced great fortunes in the late 1800s. Her life and its trappings would have inspired an Edith Wharton heroine. With good looks, plenty of money, and a personal elegance that seemed to transcend both, she sampled life widely, but never fully invested. She was both a debutante and a flapper of the twenties, and she had no sooner come of age than she eloped with a titled European as the most daring daughters of great wealth did after the first World War. There were two more husbands and many more high-profile lovers as she lived the ex-patriot high life of Europe before World War II, and joined into the heady whirl of wartime Washington during the war. When the conflict ended, still recognized as a fashion trendsetter, she joined the new front of American glamour in Hollywood. There was a fling with the movie star Clark Gable, and then her constant quest for beauty in fashion, art, men—all the world around her—led her to Taos, where she found, finally, unexpected fulfillment. It was more than most women dream of, accomplished in five decades. Then at fifty she was dead.
Copyright © 2011 by Cherie Burns
Most helpful customer reviews
40 of 42 people found the following review helpful.
A Beautiful Book
By Brigid Meier
One might be tempted to dismiss Millicent Rogers as a spoiled, rich dilettante and as a person relocated to Taos, NM twenty years ago, I already had. After reading Cherie Burns' thoroughly researched biography, Searching For Beauty, I must revise my opinion. Because Burns' beautifully written and fully documented book brings her subject up and off the page as a sympathetic human being full of contradictions and complexities and because Rogers' seemingly glamorous, privileged life was ultimately poignant, I am now eager to dash over to The Millicent Rogers Museum and peruse her treasures on display to confirm that yes, "She really had an eye."
It is also easy to glibly condemn fashion as a frivolous form of artistic expression but Millicent Rogers was a pioneer in raising the bar and simultaneously leveling the playing field to incorporate indigenous and folk costume and jewelry into haute couture thereby creating a brave personal style for herself. Burns does not romanticize Rogers but in her clear-eyed, balanced way she portrays the nuances of a uniquely creative woman living in a unique set of circumstances of tremendous inherited wealth; Rogers not only yearned for but ultimately found, in the deepest spiritual sense far beyond her upbringing and money, True Beauty and even some measure of serenity in nature through exploring the worldview of her Taos Pueblo friends.
Searching For Beauty is a marvelous, almost novelistic, read full of historical gossip and intrigue; it would make a great gift for anyone remotely interested in the world of fashion long before Manolos. Burns' section on Rogers' life in Taos is priceless and far surpasses anything written by or about Mabel Dodge Luhan as far as evoking the spirit of that magical, eccentric enclave in Northern New Mexico. Kudos to Cherie Burns for writing a beautiful book.
0 of 0 people found the following review helpful.
Rich, beautiful, willfull, talented...
By L. Brannel
I've been fascinated by Millicent Rogers since I first saw her clothes and jewelry in an exhibit at the Costume Institute, Metropolitan Museum of Art in New York many years ago. I've also visited her museum near Taos. She is one of those women like Georgia O'Keefe and Mable Dodge Luhan who came to northern New Mexico and found a new life--always a fascinating story. But there was so much, so many phases, of her life that was new to me. A creative, innovative woman who found her outlet in fashion and design. She had an knack for picking the places and the men who were at the cultural center of any give time. Highly recommended for fashion buffs, people interested in social history, and anyone receptive to a woman's quest.
0 of 0 people found the following review helpful.
Taos revisited
By Dianna Woolley
Revisiting Taos recently I came upon the Millicent Rogers Museum. It raised my interest in this famous woman's life, legacy, and contribution to Taos' history. A good read.
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