Our deepening friendship made me realize over time that Eve is the only person who could have gone on this journey with me. I am so grateful to her for her patience, her perseverance, her amazing way with the written word, and her ability to always capture what was in my heart. I have had complete trust and faith in Eve, who ultimately made me feel safe in revealing this story. For all of these reasons, I will forever be in her debt.
So many others were involved in the creation of this book. I still can’t believe that this very talented group at the top of their industry became my team, each helping to pull the stars into alignment for this book.
Emma Parry, our agent at Janklow & Nesbit. Emma, thank you for your calm guidance through the many, many drafts and versions—and for championing our story with such unwavering focus and dedication.
Hannah MacDonald, our editor at September Publishing. You saw the potential in my mother’s story at a very early stage and gave us the opportunity to develop this book. Without your vision, the title you gave us, and your careful guidance throughout, we might never have found our way forward. Thank you for all your patience, hard work, and insight.
Charles Spicer, our editor at St. Martin’s Press. Charlie, your belief in our project and your sensitivity and skill in bringing it to fruition have been a true gift to us. It was your conversation with Eve in 2012 that set her on the path of her Barbizon research, so it felt only right that the book should find its U.S. home with you at St. Martin’s. Thank you for all the care you have taken with this project.
Thank you to our extraordinary publisher at St. Martin’s, Sally Richardson, associate editor April Osborn, publicist Rebecca Lang, marketing manager Nancy Sheppard, marketing team leader Brant Janeway, William Rhino, assistant marketing manager, copy editor India Cooper, proofreader Kenneth Diamond, designer Kathryn Parise, production editor Elizabeth Catalano, and jacket designer Danielle Fiorella. At September, our thanks are also due to Charlotte Cole in editorial and Sue Amaradivakara in publicity.
Many thanks to our audio team: Mary Beth Roche, Laura Wilson, Robert Allen, Brisa Robinson, Samantha Edelson, and Margo Goody.
Kelly Shetron. Thank you for supporting this project from proposal stage through the early drafts when you sat for hours on the phone, helping us to pull together our research and stories.
Domenica Alioto. Thank you for your kindness, and for being a trusted sounding board at all stages of this book.
Writing The Bridesmaid’s Daughter has been an amazing, challenging, and emotional journey that wouldn’t have been possible without the invaluable guidance and loving support of so many others along the way. These wonderful people opened their hearts and welcomed me into their worlds, willingly giving of their time and sharing their intimate memories of my mother. Each successive interview served to reaffirm my own beliefs about my mother: that she was a beautiful woman who should not be defined by her struggles, but rather by her success as a model and kindness as a person.
Judy Balaban Quine. Thank you for your book, The Bridesmaids: Grace Kelly, Princess of Monaco, and Six Intimate Friends. I often pick it up to read passages, and it has long been a bible to me, providing vital insight into my mother’s past. Meeting with you and having subsequent conversations about this project has been enormously helpful. Knowing that you understood my reasons for wanting to tell this story, that we shared a passion for mental health advocacy, has brought me great personal strength. Many thanks also to bridesmaids Sally Richardson, Bettina Thompson, and the late Rita Gam.
I feel so lucky to have met and interviewed some of the most successful models of the 1940s and ’50s while working on this book. My mother was one of the very first Ford models, so she joined an elite group of women who set the standard for beauty and poise during that era. Tippi Hedren shared her memories of working with my mother, and knowing how much fun they had together has brought me so much joy. In addition, Helen Ryan, Lorraine Davies, Millie Perkins, Bettie Johnson (and her husband, Don Murray), Lois Heyl Jewell, and Iris Bianchi Ory all provided valuable insights and perceptions of my mother and the industry.
Susan Link Camp and Patti Sicular. It would not have been possible to connect with my mother’s peers without your help. Your work to honor the models of the 1940s and ’50s is an inspiration to me. You included me at your model reunion luncheons, giving me the opportunity to meet women my mother had worked alongside and several of their daughters. I am deeply grateful for your help with my research, and for the many introductions to countless important resources, photographer’s foundations, and archives. Susan, you graciously offered to share your vast collection of vintage fashion magazines with me so I could fill the gaps in my mother’s career. For a period of six months, you shipped several vintage magazines at a time from California, which allowed me to take photographs before sending them back to you.
Another special experience was meeting model daughters Andrea Derujinsky (Ruth Neumann), Dinah Dillman Kaufman (Suzy Parker), Nelly Gimbel (Elinor Rowley), and Anna Murray (Patsy Shally). While I wasn’t able to meet the fashion photographers my mother knew—as so many of them had already passed—I had the honor of connecting with two of their daughters: Pam Barkentin, daughter of George Barkentin, and Andrea Derujinsky, whose mother was a model and whose father was the photographer Gleb Derujinsky. Andrea, I am so grateful to call you my
