Tag: Audrey Withers

Does the Truth Matter?

Posted on by Julie Summers

When I was talking to Australian podcaster, Gabriella Kelly-Davies, recently, she asked me whether I thought truth mattered. ‘Yes, of course truth matters,’ I replied, ‘but …’ and this is where I think we have to define what truth actually means in the context of non-fiction. The truth matters when it is a question of facts that can be checked. You cannot get the date of the start of the First World War wrong nor can you make up the height of the Empire State Building. Those are facts that are checkable. So is the price of an ounce of gold in June 1973 or the date the Thames froze over: January 1940 (for the first time in six decades).

Then Gabriella and I started talking about truth versus fact and here the water gets muddier. One person’s truth can differ from someone else’s to a considerable extent. For example, childhood memories. My sister and I are eighteen months apart, but we very often have different recollections of certain events that happened within our family. I remember being in a road accident when my mother was run into by a man whose car got out of control on the ice on a lane near Burton on the Wirral. It was in the bitterly cold winter of 1963. My sister remembers it too: ‘Afterwards Mum drove us to the Shone’s house and we were given warm milk to help to calm us down. It was either 1964 or 1965.’  Who is right and does it really matter? Truth in this case differs from fact. I know I’m right and she is equally certain her memory is better than mine. And in retrospect I’m sure she is right because in the winter of 1963 she was only 6 months old and would not have had such a clear memory. Does it really matter? It is just part of the muddle of personal memories and were I to write an autobiography, which incidentally I never will, I could serve up my version of personal family events. It’s my memory, after all. Dame Marina Warner, a writer I admire enormously, wrote a book entitled Inventory of a Life Mislaid with the subtitle an unreliable memoir. In using this wording, she signals to the reader that this is her take on the family story, not that of her sister or her parents. It’s a brilliant, enchanting, and at times devastating book and I cannot recommend it highly enough.

As a biographer I do not have the luxury that Marina Warner enjoyed of relying on her own recollections of family life. Facts are what matter to a biographer and if I cannot be certain of something I either have to leave it out or signal to my reader that I am making a best guess as to the missing link between two facts. Lee Gutkind wrote a brilliant book called You Can’t Make This Stuff Up. In it he differentiates clearly between truth and fact. Truth is a personal thing; facts can be checked. When I interview people, especially about their childhoods, I have to be clear when I am quoting them in my writing that this is ‘their truth’. If it differs dramatically from facts that I have checked I make that obvious to the reader while trying not to undermine the interviewees memory. This was particularly tricky when I wrote about the evacuees of the Second World War in When the Children Came Home.

When I came to write my biography of British Vogue, I had to do be diligent about checking facts against people’s memories of their experiences of working for the magazine. Occasionally that got me into hot water. One example involved the model, Kate Moss. She is a woman I admire more than any other Vogue model: a consummate professional and infinitely adaptable. She looks as wonderful in grunge as she does in David Bowie’s outfits for Ziggy Stardust or in a long black cape photographed by Jamie Hawkesworth in 2019. Facts about Kate Moss and Vogue: she first appeared on the front cover of Vogue in March 1993. She was photographed by Corinne Day wearing a pale pink and ice-blue bustier from Chanel Boutique. She has appeared on more front covers of British Vogue than any other model in the magazine’s history: 46 times to date and counting. The only model who comes close is Jean Shrimpton who featured on 23 covers between 1962 and 1974. Where I came unstuck was over her height. In an interview for Vogue by Lesley White in 1994, Kate Moss ‘girl of the year in person’, explained that when her agent initially saw her in Boots campaigns, she concluded her height would rule her out for fashion. How tall is Kate Moss? In the Vogue article Lesley White says 5’5”. Look at her profile today and it says 5’7”. I wrote what I’d read in Vogue but was encouraged to change it upwards by two inches to the widely accepted height of 5’7”. The only way I could possibly have fact checked that was to appear at Ms Moss’s door and ask her politely if I could measure her. Which of course I did not.

How many editors has Vogue had in the past 109 years? Was Edward Enninful the first male, gay, black editor? This became a fascinating game of hunt the facts. To answer the second question: no, no and yes. Edward Enninful was definitely the first black editor of British Vogue. The first gay editor was Dorothy Todd and the first male editor, albeit only for six months, was Harry Yoxall. But it is true that Enninful was the first with all three attributes combined. The answer to the first question is even more intriguing to my mind, but then I am variously described as a pedant, a nerd or a ferret. In the time period of my book: 1916 to 2024 there were 12 editors who held the office for between 18 months and 25 years. They include Audrey Withers, Beatrix Miller and Alexandra Shulman, who between them accounted for 67 years. If you want to know who they are I have listed them at the bottom of this blog.

Please note that Elspeth Champcommunal, a name very familiar to the fashion industry, does not appear in the list of Vogue editors. That is because she never was the editor. She was the fashion editor. The editor herself at that time was a woman called Ruth Anderson. How can I be so sure? Because in 1937 the writer Lesley Blanche was commissioned to write a survey of the first 21 years of British Vogue and she mentioned Miss Anderson as the editor between Dorothy Todd’s two periods at the magazine. If I’m losing you, please bear with me, as it has an impact on another very famous woman in Vogue’s history: Anna Wintour. When it came to writing the story of the magazine for the golden jubilee edition in 1976, it was simply more glamorous to have the exciting fashion designer, Elspeth Champcommunal, as the second editor of Vogue than the less well-known Ruth Anderson. How did this rewriting of Vogue’s history occur? Miss Anderson had no advocate and Miss Champcommunal’s daughter claimed her mother had held the role. It became the accepted story.

Anna Wintour’s first issue of British Vogue, July 1986

And now to Dame Anna Wintour. A name so respected and feared by many in the fashion and publishing industry that I will surely be warned against publishing this blog. But here goes. In June 2025 the BBC reported, amongst many other news outlets, that Anna Wintour was stepping back as editor-in-chief of American Vogue after 37 years. So far so good. ‘a role she has held longer than any other editor.’ Oops. No. That palm goes to Edna Woolman Chase, the editor appointed by Condé Nast himself, who held the role for 38 years from 1914 to 1952. OK, I’m nitpicking here but it’s my job to pick nits. Incidentally, Mrs Chase worked for Vogue for 60 years which I believe is another record in its own right. The Guardian claimed Wintour had begun as editor of British Vogue in 1985. Not so. She started at Vogue House in April 1986 and her first issue was July. Another source claimed she edited the British edition for three years. Again, no. Her editions run until November 1987 and number seventeen. Her successor, Elizabeth Tilberis, took over the reins in the late summer and published her first issue in December 1987 with Naomi Campbell on the front cover.

Does any of this really matter? After all, Anna Wintour is the most famous name in Vogue’s history and surely her reputation is more important than my research. As a biographer I think it does. I have an obligation towards my reader to be as accurate as possible. It is a contract between me and that individual and one I will do my utmost not to break. They have been kind enough to buy my book in the first place and give up hours of their lives to read it. If I break that contract by making guesses and assumptions, I will lose their faith. So while I won’t be knocking on Kate Moss’s door with my tape measure, I will continue as I research my next book, to dig as deep as I possibly can to uncover accurate facts and bring them to light even if they sometimes conflict with received wisdom. I believe that truth matters.

Link to the podcast https://www.biographersinconversation.com/s03e19-julie-summers-british-vogue/

Vogue Editors 1916-2024

Dorothy Todd 1916-1919

Ruth Anderson 1919 to 1923

Dorothy Todd February 1923 to September 1926

Michel de Brunhoff/Harry Yoxall September 1926 to March 1927

Edna Woolman Chase March & April 1927

Mrs Meynell May to July 1927

Alison Settle July 1927 to October 1935

Elizabeth Penrose 1935 to September 1940

Audrey Withers September 1940 to December 1959

Ailsa Garland January 1960 to April 1964

Beatrix Miller June 1964 to June 1986

Anna Wintour July 1986 to November 1987

Elizabeth Tilberis December 1987 to March 1992

Alexandra Shulman April 1992 to June 2017

Emily Sheffield (acting Editor-in-Chief) October 2017 issue

Sarah Harris (acting Editor-in-Chief) November 2017 issue

Edward Enninful September 2017 to January 2024 (final issue March 2024)

Audrey and Lee

Posted on by Julie Summers
July 1941, the defiant image that characterised Audrey Withers’ wartime Vogue

In September 1944 Vogue’s editor, Audrey Withers, published a four-page spread with two turns at the back of the magazine on a field hospital in France. It was not the first time that she had brought her readers face to face with the horrors of war, but it was the most powerful reminder to date of the scale of the operations of D-Day. On 6 June that year almost 7,000 ships and landing craft had transported 156,000 infantrymen to the beaches of Normandy. Over the next weeks a further 2,500,000 would land on the coast of France to continue the push towards Berlin and the elimination of the Nazi threat. It was natural that newspaper and magazine editors would be following the story closely.  But was it plausible that a glossy fashion magazine would want to take its readers into the heart of the war? After all, Vogue’s main fare was couture and culture, was it not?

Fashion is Indestructible by Cecil Beaton, 1941

British Vogue was called into being in the middle of the previous war. It was first published in London in September 1916, during the Battle of the Somme. Its pages were filled not only with fashion and features but also with articles on the war, including reports from Belgium on the plight of pregnant women giving birth close to the front line and the work of the First Aid Nursing Yeomanry in France. By 1939 Vogue was 23 years older and had gathered experience and influence. It was not surprising that in this new war the editor would want to help readers make sense of what was happening at home and abroad. During the Blitz, Audrey Withers, included a photograph of Vogue’s bomb-damaged offices and proudly told readers that the magazine, like its fellow Londoners, was being put to bed in a cellar. This was a reference to the cellar below No 1 New Bond Street where the Vogue staff retreated during the nightly air raids and where they carried on working as if it were entirely normal.

Audrey Withers once described herself as an unlikely editor of Vogue and this comment stuck to her reputation for the next sixty years. In fact, she was an outstanding editor. She was brave, single-minded and always alive to the most important matters of the day for her readership. At 5’ 10” in her stocking feet she was tall for a woman of the time. She had been brought up in an eccentric household where from a very young age she had been invited to engage with her father’s literary and artistic friends. One of these was the artist, Paul Nash, with whom she conducted a 16-year correspondence in which she tried out all her ideas about the world on him, often eliciting affectionate and amusing responses. It was Nash who advised her on attending Somerville College, Oxford and who applauded her decision to switch from English to PPE in her second term. And it was Nash who comforted her when she was awarded a 2.1 and not a First as she had hoped. When she decided to leave her first job in a bookshop and apply to Vogue, it was Nash who congratulated her on the appointment.

Audrey Withers by Clifford Coffin, 1947

Audrey started as a subeditor, the lowliest job in the magazine, in 1931, and gradually rose through managing editor to Editor in September 1940. Her greatest champion when she made the step up to the top job was Condé Nast himself. He wrote to Harry Yoxall, the managing director of Condé Nast Publications in London, to say he would rather ‘have an editor who can edit than an editor who can mix with society.’ She may not have had the right social connections, but she had the intelligence and courage to stand up to the most difficult of Vogue contributors. She once took on Edward Molyneux who threatened to pull his advertisements if he did not have control over which photographs she used in the magazine She refused. Vogue’s independence was more important to her than Molyneux’s contribution to the magazine. Her wartime Vogue is a remarkable body of work that deals with all aspects of war, from clothes rationing and austerity, through the roles women took on both in civilian life and in the armed forces to the great battles being fought abroad. Her main photographer, Cecil Beaton, was removed to India and China in 1942 and she wrote ruefully of how much his absence would mean to her readers. However, another photographer was waiting in the wings, and this was Lee Miller.

Self-portrait by Lee Miller ©www.Leemiller.co.uk

Lee had begun her career in the 1920s as a model, appearing on the front cover of American Vogue in 1927. She was described as one of the most beautiful women in the world. Her life changed when she went to live in Paris in the early 1930s where she worked as Man Ray’s assistant. By the outbreak of the Second World War she had become a photographer with an exceptional eye and a singular ability to pick out the essence in a scene. This was to develop over the course of the Second World War. She arrived in London soon after the outbreak of war and applied to work for Vogue photographic studios in 1940. She worked as a fashion photographer for the magazine but also worked alongside features editor, Lesley Blanch, taking photographs of work done by the female armed services personnel.

Women of the Auxiliary Territorial Army operate a searchlight battery at South Mimms by Lee Miller ©www.Leemiller.co.uk

The opportunity to get into France – occupied France – was only possible because of her US citizenship and the press accreditation Audrey had helped to secure at the end of 1942. Lee’s visit to the field hospital in Normandy in August 1944 left her deeply moved. Her photographs are fresh, absorbing and searingly honest, as is her writing: ‘Another ambulance arrived from the right and litters were swiftly transferred to the parlour floor. The wounded were not “knights in shining armour” but dirty, dishevelled, stricken figures … uncomprehending. They arrived from the front-line Battalion Aid Station in lightly laid on field dressings, tourniquets, blood-soaked slings … some exhausted and lifeless.’ Audrey was delighted with Lee’s work. She wrote later:  

‘I made myself solely responsible for editing Lee’s precious articles. I used to begin by cutting whole paragraphs, then whole sentences, finally individual words. One by one to get it down. Always I tried to cut them in such a way that there would be the least possible loss of their impact. It was a painful business because it was all so good.’

What was new here, in Vogue, was the quality not only of the photographs but also of the writing. Combined it made some of the most powerful photojournalism of Vogue’s war. Today Lee Miller is well-known. When Audrey Withers agreed to sponsor her application for press accreditation there was little to suppose this would turn out to be an extraordinary relationship. Audrey later described it as the greatest journalistic experience of her war.

In October Lee had two features in Vogue, one on the battle for St Malo, where she had witnessed the use of Napalm, and the other from liberated Paris. She went on to produce articles on Operation Nordwind, a German offensive in Alsace, and then on the liberation of countries such as Liechtenstein. Her work became ever more intense as the war reached its conclusion. In April she entered the gates of Buchenwald and, just 12 hours after it was liberated, the concentration camp at Dachau. The photographs she sent back to London were so powerful and shocking that she sent an accompanying telegram ‘I IMPLORE YOU TO BELIEVE THAT THIS IS TRUE’. Audrey wrote that she had no difficulty in believing it was true: ‘The difficulty was, and still is, in trying to understand how it was possible for such horrors to be perpetrated not just in a fit of rage but systematically and carefully organised over years. To me, it was far more frightening than the existence of a Hitler or a Stalin and the fact that their crimes could not have been carried out without the willing cooperation of thousands who applied to work for the gulags and concentration camps just as if it was a job like any other.’

Audrey’s courage failed her. She could not bring herself to publish the photographs from Buchenwald and Dachau in her Victory issue of the magazine in June 1945. History, and she herself, has judged her harshly for that but both overlook the fact that she included Lee’s article in full. And the article is so packed with rage it almost burns the pages it was published on:

‘My fine Baedeker tour of Germany includes many such places as Buchenwald which were not mentioned in my 1913 edition, and if there is a later one, I doubt if they were mentioned there, either, because no one in Germany has ever heard of a concentration camp, and I guess they didn’t want any tourist business either. Visitors took one- way tickets only, in any case, and if they lived long enough they had plenty of time to learn the places of interest, both historic and modern, by personal and practical experimentation. . . Much had already been cleared up by that time, that is, there were no warm bodies lying around, and all those likely to drop dead were in hospital. Everyone had had a meal or two and were being sick in consequence – because of shrunk stomachs and emotion. There is a diet arranged for them now, very similar to what they have been receiving in texture, although the soup now contains vegetables and meat extracts. I had seen what they had, that emergency day; and you’d hesitate to put it in your pig bucket.

The 600 bodies stacked in the courtyard of the crematorium because they had run out of coal the last five days had been carted away until only a hundred were left; and the splotches of death from a wooden potato masher had been washed, because the place had to be disinfected; and the bodies on the whipping stalls were dummies instead of almost dead men who could feel but not react.’

As Audrey was a wordsmith, she knew the power of Lee’s words and I think it is telling that she chose not to tone down the fury that they conveyed.

Kate Winslet in LEE (Sky Cinema)

The current film LEE, which is enjoying success worldwide, with Kate Winslet as Lee and Andrea Riseborough at Audrey, naturally focuses on Lee and her war photography. I just want to remind readers that without Audrey Withers, Lee’s work might never have gained the prominence in Vogue that it did. Lee was extraordinarily brave and brilliant but so too was her editor.

With thanks to the Lee Miller Archives for the use of two images www.leemiller.co.uk

Rosa Nostalgia – one of my favourites.

A Word in Your Ear

Posted on by Julie Summers

Books appear in many different formats, shapes, sizes and technologies. This autumn British Vogue: the Biography of an Icon will be available in three formats: the hardback version, the Kindle version and the audiobook. This last intrigues me. It is a combination of my words, an actor’s voice and a producer’s interpretation of both. And it is the melding of the three parts that can create a magical voice for the listener or can produce an inharmonious clang that sounds quite off note.

This time I have been very fortunate to have my book read by Katherine Manners, a British actress with a sparkling career on stage and film. She is also trained as a funeral and family celebrant and officiates at weddings, funerals, memorials and naming ceremonies, especially serving members of the LGBT community. Best of all she has just the right voice for my writing. And that matters. Too strident and my words sound as if they are created for am dram, too soft and they lose their way in a haze of aspirants. I think she has done an amazing job and I am so delighted that the audio book is now out.

People often ask me who my favourite editor/stylist/photographer was to write about. It is hard to say because each era produced not only great talent but fascinating reactions to the times. However, it would be difficult to overstate the importance of Lee Miller to Vogue during the Second World War and I love this short clip, read by Katherine, that describes Lee’s first experience of arriving in France to photograph a field hospital in August 1944.

Lee would go on to photograph and write about the liberation of Paris, the final battle ‘Nordwind’ in Alsace and her first-hand experience of the concentration camps of Ohrdruf, Buchenwald and Dachau. Although Audrey Withers only reproduced one image from those ghastly camps, she delivered Lee’s final diatribe against the Nazis almost unedited. It is an astonishing piece of writing for its undisguised anger and jarred with the upbeat message of the Victory issue in June 1945. Audrey may have lost her nerve over the images, but she knew exactly what she was doing by letting Lee’s disgust appear in print the magazine. This was my second opportunity to write about Lee Miller and Audrey Withers. I never tire of looking back at their extraordinary working relationship over an intense 18 months of the war. In Dressed for War I was able to devote a whole chapter to them and it is now the subject of LEE starring Kate Winslet with Andrea Riseborough as Audrey.

While Audrey is best known for her wartime work at Vogue, her successor, Ailsa Garland, is seldom celebrated. She edited Vogue for 4 years and oversaw the transformation of the magazine from the staid 1950s to the sexy, swinging sixties. She introduced David Bailey and Jean Shrimpton to her readers, she featured the Beatles and the Rolling Stones in 1963 and embraced the brilliant Vidal Sassoon. This clip marks that moment when the first green shoots of the new styles that came to define the decade were first seen.

Vogue January 1961

One of the most enjoyable aspects of researching and writing this book has been watching the magazine change month by month. It reflects the time period in which it comes out, and each editor interprets the world according to Vogue. The longest serving editor, Alexandra Shulman, was at the helm for 25 years and presided over the tumultuous events around the turn of the century, from the death of Diana, Princess of Wales, to the Millennium, 9/11 and the Arab Spring. Her editorship was bold, creative and full of fascinating journalism as well as glorious fashion shoots. One of my favourite moments was when fashion features editor Harriet Quick summed up the new attitude towards body shape in 2003. I sense Katherine Manners much enjoyed reading that chapter.

Vogue March 2003 ‘Body Beautiful’

Having had the most extraordinary fortnight following the discovery of Sandy Irvine’s boot on Everest and the subsequent media circus that resulted, I’m relishing the prospect of listening to Katherine reading words in my ear. If you are into audio books I do hope you will enjoy it as well.

When Worlds Collide

Posted on by Julie Summers

For the first six months of 2024, I was busy and taken up with two projects. The first was the centenary celebration of the disappearance of George Mallory and Sandy Irvine on Mount Everest on 8 June 1924. The second was the completion of my biography of British Vogue which was in the final stages of proofs, and we were looking to pin down the pictures. It was a delightful juxtaposition. I enjoyed flitting between exquisite photoshoots by Nick Knight and Mario Testino in Vogue and the chilly black, white and blue world of the high Himalaya. While the book proofs were being tweaked and the index completed, I took part in several events to mark the Everest 100th anniversary. The first was at Shrewsbury School in February, the day the expedition set off from Liverpool on 29 February 1924. Then a seminar day on 26 April at Merton College, Oxford (Sandy Irvine’s college) on the day he got his first sighting of the mountain from Pang La Pass 100 years ago.

Sandy Irvine 1923 The Warden & Fellows of Merton College, Oxford

And finally the major celebration at the Royal Geographical Society in London, organised by Rebecca Stephens and the Himalayan Trust. This took place on 8 June, the exact date the two climbers were last seen by Captain Noel Odell ‘going strong for the top.’ It was an extraordinary and moving event and we all felt that the centenary of the greatest mountaineering mystery of all time had been well and truly put to bed. I even announced my intention to retire from Everest-related matters.

And so I returned to the rarified air of high fashion and Vogue history. Over the summer I finalised the selection of images for the plates section, saw the final proofs off to the setters and then, as readers of this blog will know, I was fortunate enough to see the book coming off the presses on 3 September. After a short but lovely walking holiday in Greece, I returned to a frenzy of pre-publication activity for the Vogue biography. There was a glitzy launch at Iconic Images Gallery in London and a Q&A with former Vogue editor, Alexandra Shulman at the V&A at which we discussed Vogue, clothes and other things that matter.

One of the issues we talked about was how all of us make fashion choices every day, even if we think we are not interested in fashion. We make a decision about whether it’s a jeans or dress day, whether it’s warm enough to wear shorts or a skirt without tights, whether we’re trying to dress to impress or simply to wear clothes appropriate for the task in hand. Our clothes tell others so much about who we are, what we are doing, and in the case of history, to what time period we belong. Audrey Withers, Vogue’s editor in the 1940s and 1950s, said she could date a dress to a season and tell you what was going on at the time politically and economically.

Imagine my surprise when I received a call one morning the following week from a high-altitude filmmaker in Kathmandu who wanted to talk about an old boot he had found in a glacier on Everest a few days earlier. The boot was leather with nails (for grip), meaning it had been used for climbing. There was a thick woollen sock poking out from the boot – brown and cream (café au lait?) which meant the wearer had been clear that he or she wanted to keep their feet warm at altitude. Actually, I knew it was a ‘he’ because no women were on Everest in the era of nailed leather boots. It matched in type, design and weight, the boot found on George Mallory’s body in 1999. Could it possibly be a boot belonging to Sandy Irvine? If so, that would blow all the most recent theories of the Chinese removing Irvine’s body from the mountain to smithereens. How could we possibly prove it? Simple, as it turns out. Stitched perfectly onto the sock was a Cash’s name tape: A. C. IRVINE.

This incredible find, made by climber/filmmaker Jimmy Chin when he was on his way down from the upper mountain, has opened up the whole mystery of Mallory and Irvine for the second time. And in the centenary year, a quarter of a century after Mallory’s body was found by Chin’s friend and mentor, Conrad Anker, in May 1999. The fact that Chin found only a boot and sock (with the foot too) is tantalising and begs the question as to what happened and where is the rest of Sandy Irvine’s body. I have studied the mystery of Mallory and Irvine for nearly 30 years, and I have spoken to many climbers, filmmakers, mountaineering historians, glaciologists and artists. I know that objects caught in glaciers are moved, crushed and spat out by the slow-moving rivers of ice. Andy Parkin, an artist in Chamonix, specialises in sculptures created from found and recycled objects, often crushed and changed by the Mont Blanc glacier. I knew from conversations with him how things can reappear years after they fell into the ice.

Mallory replica clothing recreated by Mike Parsons & Mary Rose from fragments found on his body in 1999 (Mountain Heritage Trust)

Those who know the story of Mallory and Irvine well are aware of the sighting of ‘an English Dead’ by a Chinese climber in the 1970s. The body, as he described it to a Japanese climber a decade later, was sitting upright, as if asleep, and was wearing old fashioned clothing, puttees and red braces. Mountaineering historians Audrey Salkeld and Thomas Holzel concluded this could only be Sandy Irvine. They set off to find out if that was indeed the case, but their search was not successful. When Eric Simonson’s Anglo-American expedition set off in 1999 to search for Irvine’s body they contacted my father, Peter, and asked for a DNA sample so they could identify the remains if they found them. In the event, the climbers stumbled upon the remains of George Mallory. Photographs of his frozen body ricocheted around the globe and a whole new generation of Everest enthusiasts became hooked on the story.

One of those I spoke to frequently was Graham Hoyland, who was key to the 1999 expedition and is a relative of another member of the 1924 Everest team, Howard Somervell. In 2011 we were discussing yet another expedition planning to try to find Irvine’s body and he said: ‘I think it’s unlikely that they will find anything. There has been a lot of avalanche activity and probably landslides in the region of old camp VI. I reckon your great uncle will have been sluffed off the mountain and into the glacier.’ I distinctly recall that word sluffed. Since then, other expeditions have tried to find Sandy Irvine’s remains and all have failed. One recent expedition leader, Mark Synott, has gone on record to allege that the Chinese had taken Sandy Irvine’s body off the mountain. In the Daily Mail in April 2024 he is quoted: ‘We now have multiple sources all essentially saying the same thing: the Chinese found Irvine, removed the body, and are jealously guarding this information from the rest of the world – all to protect the claim that the 1960 Chinese team was the first to reach the summit…’

Well, that’s one theory that is well and truly put to bed now. Sandy Irvine’s body was never removed from Everest. That the boot is his, there is no doubt, thanks to the name label on the sock. And just for fun, the invoices for both the boot and the lambswool socks are in the archive of Merton College, Oxford. There is even a photograph of Sandy drying his socks at Shekar Dzong in the collection of the Royal Geographical Society. Sometimes history comes together beautifully, like a perfectly knitted woollen. And it turns out that clothes do matter.

These two images courtesy Sandy Irvine Archive, The Warden and Fellows of Merton College, Oxford

Celebrating Women

Posted on by Julie Summers

It is wonderful to celebrate the amazing achievements of extraordinary women on International Women’s Day. I’m very pleased to have heard so many female composers featured on radio 3 this morning, for example. And the newspapers are full of impressive profiles of women who have defied the odds, challenged misogyny or battled against fearsome prejudice. I am fascinated to read those stories. They are inspiring and valuable. They can also be a little intimidating and seem far removed from ordinary life.

I’d like to celebrate women who achieve extraordinary things every ordinary day. I was going to name some who I have found particularly inspiring, but I decided that might be either embarrassing to those I named or hurtful to those I leave out. So, I won’t. I’m going to start with carers, as I have quite a bit of first-hand experience at present of those who work in this field. There is so much criticism in the press about the care sector, but these women, and they are often women in my experience, are among the kindest and least complaining people you could meet. They cater for people’s most basic needs with professional kindness so that the person being helped can maintain as much dignity as possible given the circumstances. Emptying commodes, dressing wounds, showering frail bodies and administering food or medicine is hardly glamorous work but it is vital and I admire their dedication. They make people’s lives better even if they cannot cure the ills. If I have a plea, it is to recognise this vital work that will never cease to be needed.

Caring Hands, Cheshire 2023

There are women in every walk of life who achieve little miracles daily – nurses, police officers, firewomen, teachers, classroom assistants. Then there are those who volunteer, running everything and anything, from sports clubs to food banks. The Women’s Institute, born in the second summer of the First World War, is one enormous body of talent and generosity whose work I found so inspiring I wrote a book about their work in the Second World War. The spirit that helped over a quarter of a million members to keep the countryside ticking in those difficult years embodies everything I admire about women of that time. To hell with red-tape and wartime bureaucracy, they got on with making jam, collecting herbs for medicine, knitting millions of items for the Home Guard, the Merchant Marine and evacuees. And they sang and smiled their way through it.

Community Singing at Flamstead WI in Hertfordshire during the Second World War

Archivists and librarians are people I admire enormously. They are often women who work behind the scenes safe-guarding history and thus the national memory. I have worked in archives all over the world and often the incredible collections they protect are underappreciated by the people whose histories are being preserved. Those of you who read my biography of Audrey Withers will know that she destroyed the entire Vogue archive in February 1942. Why did she do it? It was an act of fervent patriotism, urged on by her star photographer, Cecil Beaton, for paper salvage to help the war effort. What a loss, though, to future generations. She believed she was doing the right thing at that moment in history, and one cannot criticise her motives, but it does point to the value of original archive material to the memory of the nation. Material, I might add, that celebrated women far more than men.

This image appeared in March 1942 Vogue showing the pulping of photographs for the war effort

My current project, a biography of British Vogue, is full of stories about inspirational women from every decade of the 20th and 21st centuries, as well as some men. The magazine may be about fashion on one level but it is a celebration of the achievements of women on so many others. Over the last 105 years Vogue has covered every topic of interest to women of any given era. I find it life-affirming and hugely impressive to think about the achievements of women from every walk of life.

Much has been made recently of the value of friendship. It is something that is now understood to help to encourage healthier living and even a longer life. Studies in Australia established that women who have close female friendships are less likely to suffer from multiple serious conditions in later life. 7,700 women were tracked over twenty years to see whether they went on to contract diseases such as diabetes, hypertension, heart disease, stroke, cancer, depression and half a dozen other serious conditions. ‘Researchers found that women who reported the lowest level of satisfaction with their social relationships had double the risk of developing multiple conditions compared with those who reported the highest levels of satisfaction.’ I raise a toast to the women I row with four or five mornings a week in Oxford. We were out today despite the snow and we loved it. If it helps us to stay healthier longer, well that’s just a wonderful side effect.

With a dear friend in a double scull on the river at Oxford, December 2022

So yes to celebrating International Women’s Day on 8 March but I want to celebrate women every day of the year.

The Cost of War

Posted on by Julie Summers
Soldiers in Wrexham

Today is Friday 8 May 2020, the 75th anniversary of the end of the war in Europe. Seventy-five years ago today the costliest war in history was finally drawing to a close, though its end would not come until 15 August 1945 when the Japanese Imperial Army surrendered unconditionally. Costliest in terms of lives – historians estimate 60 million men, women and children, military and civilian, lost their lives. A generation of children had grown up knowing nothing but war as the backdrop to their lives. In Britain, those children at least had more or less enough to eat. In Nazi-occupied Europe whole families were starving while further afield the famine in Bengal cost the lives of 3 million people. Costliest in terms of economic damage – Britain was almost bankrupt as a result of the war. And costliest in terms of its impact on society. Hitler had boasted the German Reich would last for 1,000 years. It went on for 12 long, destructive years but the impact of it has lasted for eight decades and it will go on for many more.

Soldiers from Jamaica

Today we have been celebrating and commemorating those brave men and women who fought for Britain abroad and on the Home Front. We have heard extraordinary stories from veterans, like the Jamaican, Alan Wilmot who flew with air-sea rescue, saving up to 17,000 lives, or Donald Hunter who sailed with the Merchant Navy from the age of 16. There have been tributes from people who were children at the end of the war. Everyone spoke with warmth of their memories of that special day, but few mentioned what had happened after VE Day was over.

The morning of 9th May 1945 was another bank holiday. Britain woke up with a national hangover and probably a few sore heads too. Barbara Cartland, then 44 years of age, summed up the feelings of many of her generation:

‘We were glad, but still our hearts refused to sing, the shadow of war still lay over us in a restriction of freedom, in controls and coupons. We had only to look at our empty larders, empty store cupboards and half empty coal cellars to know war had not receded very far from our daily lives. To practically everyone in Great Britain the war had brought the loss of someone they loved – either man, woman or child – and for many there were crippled bodies or blinded eyes as a legacy from the nights of terror and fire.’

Barbara Cartland The Years of Opportunity 1939-1945
Dame Barbara Cartland in ATS uniform, c. 1942

Twelve years ago I wrote a book called Stranger in the House that looked at the impact of returning servicemen and women on life at home. It was at times a heart-breaking book to research and I wrote several of the stories weeping onto my keyboard. I know that it affects readers too: my friend John wrote to me only this week to say that he has never cried so many times over a book as over that one. Am I sorry? No, not really. These are human stories that needed to be told. We have to understand the cost of war. It is not possible to gloss over the inconvenient truths, the ugly aspect of readjusting to life after war and to imagine that all the veterans are great heroes who shrugged off the impact of what they did and saw. They did not. They could not. Some will never be able to stop the memories coming back. And that applies to young men and women who in the more recent past have taken up arms on behalf of Britain in conflicts all over the world. They cannot be unaffected by what they witness.

At the moment I am writing a book for the Royal British Legion’s centenary in 2021. Once again, I am reminded of the enormous cost of war and the extraordinary efforts that people go to in order to try and alleviate the pain and distress returning service personnel and their families suffer. The story of the Legion is the story of our country’s twentieth and now twenty-first century wars and the impact they have had on our society. The Legion helped to shape Remembrance, it is a peaceful, peace loving organisation and it has a most generous welfare programme. It has fought for pensions, disability rights and widows’ allowances for 99 years and it is not going to be giving up any time soon.

As I work through the research I am reminded, daily, of the terrible situations faced by men coming home from the First World War. 2,300,000 ex-service personnel returned injured or disabled to a Britain that was suffering from an economic decline, that did not have the jobs, housing or welfare for them. The Legion had an enormous job on its hands to help those affected by the war, including hundreds of thousands of widows, orphaned children, the sick, disabled and unemployed. But it set about the task with impressive energy and focus. The Legion changed many things over the first twenty years of its existence and one of those was the way returning men were treated. By 1945 there was a better, more humane system in place. But even they cannot make the nightmares, the feelings of dislocation and the difficulties of settling down as a family go away. That has, eventually, to come from the individuals and their families.

In my most recent book, Dressed for War, the emphasis was on Audrey Withers’ life and on her energy and courage during the darkest days of the 1940s. Yet even in that book there is a major casualty of war. Her star photojournalist, the brilliant, brave and tireless Lee Miller, suffered from post-traumatic stress disorder in the post-war era. She never really recovered her equilibrium. She was one of thousands who suffered, many silently, from the impact of their wartime experiences.

So, without wanting to throw a bucket of cold water on the celebrations around VE 75, I just think it is worth remembering that war has a far-reaching impact on everyone involved.

Coping in a Crisis

Posted on by Julie Summers

Several people have asked me what Audrey Withers’ reaction to the current crisis would have been. I have thought about it a lot and it occurred to me that it might be interesting to compare 1940 and 2020.

Fashion is Indestructible by Cecil Beaton, June 1941 © Conde Nast Publications Ltd

At the beginning of the Second World War the government closed down the country. It banned all public gatherings, sporting events and race meetings. Theatres and cinemas were ordered to close and no group meetings of more than 100 people were permitted anywhere except at church. Does this sound familiar? The introduction of petrol rationing from midnight on the day war was declared and the blackout altered people’s lives even more directly. The shutdown lasted for just twelve days but it had the effect of changing people’s behaviour, the way they thought about being at war – even though the war proper did not affect them until the spring of the following year – and it changed the way people moved around.

Now, in 2020, we are in equally uncertain times but on this occasion we are not terrified of air raid or gas attacks but of an invisible virus. The government is not only protecting its citizens but our wonderful, precious but horribly overstretched NHS.

So what would Audrey have done? The answer depends of course on what period of her life we are going to imagine in this hypothetical situation. Let’s place her in London at the beginning of the Blitz, days after she has been named as editor of Vogue, when nightly air raids and daily warnings disrupted life in so many ways. Audrey wrote an article about living under those conditions for American Vogue. She described how every night she and her editorial and art staff packed up a large laundry basket with all their ‘treasures’ and every morning the basket was unpacked and work began again. ‘If the siren goes work goes on until the alarm warns that planes are overhead or that guns are firing with the result that we now take shelter less frequently but more rapidly.’

I find in here a hint of how in the very early days of the Blitz there had been a touch of panic but by early October, when she wrote this article, she had got used to the bombing.

We grab work and paraphernalia, descend six flights of stone stairs to the basement. We look as if we are going on a peculiar picnic: coats slung around our shoulders; attaché- cases with proofs, photographs, layouts, copy, mixed up with gas- masks, sandwiches and knitting. The Art Department men carry under one arm a stack of drawings and layouts; and under the other, a stirrup pump, a pick axe or a shovel. It’s a peculiar picnic all right.

Audrey working in the bomb cellar of One New Bond Street in October 1940. As usual, she was wearing a hat.

She described how they greeted each other every morning with ‘what kind of night did you have?’ and how gallows humour soon emerged and kept them sane even when the news was grim. ‘A feeble joke makes us laugh, and we’re glad of the chance to laugh at anything; and on the other hand, you get oddly insensitive and callous, and are amused by incidents that normally you would have found macabre.’ She concluded the article by saying that they lived day by day, not looking too far ahead but always trying to be organised and practical.

It would be wrong to paint Audrey as instinctively brave. She was not courageous like her fearless photo-journalist, Lee Miller, but she became brave through sheer hard work and a determination to keep going under any circumstances and she was organised. Another aspect of her personality was her deep and furious dislike of cheating of any sort. She railed against people who bribed shopkeepers to give them a little bit extra over the ration and she despaired about Vogue readers who cheated with their clothing coupons. I suspect she would have had something to say about panic buying and, worse still, the scalpers who clean out supermarket shelves and then offer the products for sale at a higher cost. Spivs are what those people were called during the war and Audrey despised them.

She was a caring person and I am sure that she would have worried about people being lonely and cut off. There was no compulsory self-isolation during the war but petrol rationing had more or less the same effect for people living in the countryside. Her parents, both in their seventies, had been socially active in the nineteen twenties and thirties. By 1940 they were living on the edge of a small village outside Banbury seeing almost nobody week in, week out. They were lonely and depressed by her father’s ill health. Audrey and her sister, Monica, tried to ensure they had visits or letters as often as circumstances permitted.

As we are today, so Audrey was overwhelmed by government advice. During the war it was called propaganda and it was sometimes issued three or four times a day. The Board of Trade published nearly 200 notices in one year on the subject of women’s underwear alone. The ministries of food, agriculture, health and so on were equally busy bombarding editors with information. Audrey had to decide what to publish in Vogue, a monthly magazine, and what could be ignored as it had already been dealt with by the daily press.

By the end of 1940, when London had been bombed for 56 nights consecutively, Audrey could be proud that she had managed to get the October, November and December editions of her magazine out almost on time. November had been two days late and December just one. One of her staff, Audrey Stanley, wrote to Condé Nast describing how they had coped during those difficult months:

We went through such a transitional stage and we did not know exactly what to strive for as everything was so precarious and atmosphere and feeling was as fickle as the wind, but now I really think a comprehensive pattern has come out of it all. Audrey Withers is a remarkable person. She has such balance and tact and we all admire her enormously as being editor just now must be a difficult job.

Audrey Withers by Cecil Parkinson, 1944 © Norman Parkinson Archive

As the war went on, Audrey became more confident in her role as editor and more impressive in the way she coped with the pressure. In 1944 the President of the Board of Trade, Hugh Dalton, described her as the most powerful woman in London.

If we can take a message from Audrey’s strategy for coping in difficult circumstances I suggest it would be to keep calm and play fair. And, if you fancy, wear a hat.

Audrey’s Miniature Wardrobe for Today’s World

Posted on by Julie Summers

Now that Audrey is launched in Dressed for War she is public property. People have begun to contact me to tell me things about her which of course I wished I had known when I was writing the book. That always happens, though, so I have given up getting paranoid about missing out on every last gem. However, people have also been talking to me about how relevant they find Audrey’s attitude towards clothes rationing and how it rings a bell for today’s concerns about excess consumption and waste.

Last week I was thrilled to find a copy of the September 1943 edition of British Vogue with its stand-out beautiful cover and fascinating articles by Cecil Beaton, Lesley Blanch and Lee Miller. Audrey’s editorial for that edition was entitled Miniature Wardrobe. ‘Wardrobes are shrinking fast,’ she wrote, ‘and the smaller they get the more perfect they have to be.’ That autumn she would tell the New York editor of Vogue that she had in her personal wardrobe three suits, which she varied with blouses and accessories, one cashmere dress for dining out and two pairs of ‘slacks’ which she wore with baggy jumpers at weekends. She concluded her editorial: ‘In a miniature wardrobe – as in a small circle of friends – versatility is to be prized and bores not admitted.’ Coming a year after the introduction of Utility clothing and Austerity design it is clear to me that Audrey and her fashion editors were trying to encourage an upbeat message in straitened circumstances.

Audrey’s editorial in Sept 1943 Vogue

For Audrey Withers and her generation, recycling, making-do and mending, refashioning clothes and eking out the last few months of an old suit was part of their every day after clothes rationing was introduced in June 1941. In fact, before that date there had been a ban on the sale of silk stockings and all sorts of clothing was in short supply as a result of the bombing of factories. In comparison to a human life, clothing must have seemed unimportant. Yet it was not dispensable. At the most basic level, people had to keep warm. Children needed clothes and shoes to go to school. Men and women had to be dressed to go to work, whether in factories, in secretarial offices or indeed in the editor’s office of the most prestigious fashion magazine. The government understood that clothing was also important for morale. That is one of the reasons why they allowed the women’s magazines to continue to publish, albeit with a reduced quantity of paper.

Today, in Britain at least, we are not in the position of having to limit our wardrobes because of clothes rationing. We live in an altogether different time. A time of plenty which is running into an era of excess. Perhaps we can learn lessons from Audrey Withers. Barbara Guarducci and Saskia Terzani certainly seemed to think so when I met them via Skype in the autumn of 2019. They founded Mending for Good ‘to provide ethical solutions for fashion waste.’ When I met Barbara in London in November, she and I quickly found that we had the same anxiety about the vast excess that fashion creates. My concern came from having spent six years writing about wartime clothing, hers from a lifetime’s experience of the fashion industry but we met at the same point: we have to declare war on overproduction and waste. We are living beyond our means in terms of our impact on the environment and we have to change the culture that permits over-consumption.

Barbara, Saskia and I decided to team up to help launch Mending for Good at the same time as we launched Audrey in Dressed for War. The themes seemed to align so well. Then came the suggestion to produce a series of embroideries of Audrey’s phrases that she used in Vogue to exhort readers to think about their clothes. Taken on their face value they seem to have as much relevance today as they did eighty years ago: Wage War Against Waste, Quality Rather than Quantity, but also the more reassuring: You Cannot Ration Style or Relax and Mend.

Mending for Good works with the London College of Fashion’s vocational training and ethical manufacturing initiative. That sounds a bit of a mouthful but it is a wonderful undertaking that gives employment opportunities women in socially frail and challenging circumstances. We commissioned a group of women in HMP/YOI Downview Prison to create 100 embroideries with eight different messages. We gave them away to guests at the book launch and they proved so popular that I have only the original eight examples left.

Four of the embroideries created by women from HMP/YOI Downview 2020

I know Audrey would have approved of this initiative on so many levels. After the war she strove hard to make people – young women in particular – think about the fashion industry as a career that could help to make a difference. She ran a competition in Vogue from 1945 to get this message across. Today the London College of Fashion’s Making for Change initiative and my friends at Mending for Good are both trying to help change the way people think about fashion production. That is a wonderful thing.
I believe Audrey’s wartime campaign to encourage women to think responsibly but creatively about fashion can find echoes in today’s world.

Setting Audrey Free

Posted on by Julie Summers

There is a moment in a book’s life when it is no longer the personal, much-loved friend it was during research, writing and editing. This is when it goes to print and the powerful machine of publicity grinds into action. It might seem strange to express a book’s publication thus but it is something I and other writers have experienced. As the novelist, Diane Setterfield, said recently: ‘You care about your book. You love it deeply but it does not love you back. It would eat you alive if it needed to.’ I know exactly what she means. A book develops a life of its own. It goes out into the world as a published hardcover: Dressed for War will have an existence far beyond my desk – in bookshops, on shelves in libraries and private homes, as a second-hand ex-review copy on Amazon. It might be well reviewed. It might get a hostile reception – I have had experience of both – but it is out of my hands.

My desk on 7 January 2019 with notebooks, my favourite pen and Audrey to inspire me.

When I started writing Audrey Withers’ autobiography on 7 January 2019 I was still in that blissful state of privacy and intimacy with my subject. For three months it was just me and the material in my little office at the top of my home in Oxford. I watched the garden wake up from its winter slumbers as I wrote about Lee Miller and Cecil Beaton. I heard the first cuckoo of the year as I was describing the heart-breaking moment when Audrey’s beloved father, Percy, died. And I had my first glass of wine in the greenhouse the day I wrote the last sentence of the first draft. Eleven and a half months later I sent off the final proofs and the lovely picture section for the last time, having read the book sixteen times in draft and proof form.

A spread from Vogue, June 1957 by William Klein © The Condé Nast Publications Ltd

I shared all the writing stages in my quarterly blogs and as each one was finished, I experienced a different emotional reaction: relief at first, panic when the deadline was brought forward by six weeks, grief when the third proofs went off and now anxiety. At the end of this coming week the printers will run off the first copies. Of course I am excited about it but I am also nervous and there is so much still to do. As an author I have to work flat out with publicists and marketing people to make sure the book is noticed. And believe me, it really does matter.

I have my own publicist, Richard Leon, who works alongside the excellent team at Simon & Schuster led by Becky and Rich. Together they have cooked up a publicity and marketing plan that involves every possible media platform you can name and some that I cannot. I have been booked to speak at a dozen literary festivals already and there are bound to be more to come. I hope we might get some radio coverage and perhaps even a little bit of TV. This all sounds glamorous but it is hard work. We have been planning and talking about how to ensure Dressed for War gets a good start since October 2018, which is three months before I typed the first sentence of the first draft.

The book that I have always referred to as Audrey will be published on 6 February 2020 with a party at Somerville College in Oxford and an interview with Diane Setterfield, which I am very much looking forward to. Two days before that we will launch the book in London at a joint event with a small team from Italy who run a project called Mending for Good. Today there is a growing appreciation of the impact of fashion’s carbon footprint on the environment and I feel certain that Audrey would have been behind any project that challenged waste and encouraged good practice. After all, she presided over the most dramatic movement in wartime fashion, the Utility and Austerity scheme. This dictated skirt and shirt lengths;  it limited the number of pockets on jackets and the width of the gusset in women’s knickers. It feels fitting to focus on the future as well as on the past as we celebrate setting Audrey free.

As Dressed for War leaves me bobbing in its wake, I will try to be sanguine about the reaction of the reviewers who will express their opinions, whether good or bad. It is a fact that writers, as other performers, tend to remember the bad reviews. But what I really long for, and what I think every writer longs for, is the moment when we come face to face with a reader who has got something personal to say about the book we have just published. It does not always happen but when it does it is as important as any review. And that won’t happen unless we get the publicity right, which is why Richard, Becky and I are working so hard behind the scenes to make it work.

This is the preview of the book https://www.youtube.com/watch?v=QEvw_APrtX8&feature=youtu.be

Announcing Audrey

Posted on by Julie Summers

It is a very strange feeling when you hand over a proof of a book for the final time. This precious document that you have shared with an editor, a copy editor, a proof-reader and an indexer, is suddenly ready to be shared with others. There is a momentary feeling of loss that, for me at least, is comparable to a bereavement. Well, a bereavement over the loss of an animal, say, not a relative – let’s not be over-dramatic.

But when I pressed the final send button to launch Audrey back through the ether towards London I felt a terrible, almost physical sadness. She was no longer my private, treasured friend with whom I have spent the most intensive nine months of my life since I laid down my research papers and clicked out the first words of draft one on 7 January 2019. It seems a lifetime ago, as it always does, but it also seems to have gone far too quickly. In a strange way it is a lifetime. I have come to know Audrey over the course of most of her long and varied life, that is with the exception of the years of her retirement. I have found her fascinating, lovely, loving, amusing, passionate and ambitious but also private, infuriatingly self-deprecating and mischievous when it came to covering her tracks.

Now she is almost ready to be launched on the world in her final form. The book, with 416 pages including twelve pages of index and eight pages of photographic plates, will be available from 6 February 2020. Rather wonderfully that is my grandmother’s birthday, though she is no longer with us. She knew Audrey well as my grandfather and Audrey were cousins, born two years apart. My grandparents used to visit her on business trips to London and she and Victor stayed with them on the Wirral more than once.

The title for my book, which we have pushed back and forth for months, has been decided upon by the publisher: Dressed for War. The cover image took even longer to negotiate but what a stunning one it is. Undoubtedly the most beautiful cover I have ever had but then Audrey deserves nothing less. It was an American design used by Audrey for the September 1943 issue of Vogue with a list of contents on the left-hand side that included renovations, coupons and repairs. A stark juxtaposition but somehow a beautiful summing up of Audrey’s editorship during the second half of the war: beauty and excellence balanced with practical, no-nonsense advice.

For now Audrey is still under wraps at the publishers. I will get to see her one more time before she goes off to the printers to check the layouts and see the final version with plates, index, updated acknowledgements and footnotes. My job is to ensure this wonderful woman reaches as wide a public as possible. Audrey’s extraordinary life, her exceptional leadership and her championing of women’s causes in the middle of the twentieth century deserve to be better known, especially at a time when women’s rights are under threat as at no other time in our recent history. I want to celebrate her editing skills, her ability to attract, handle and maintain relationships with some of the most brilliant but tricky artists and writers of her time. And I want readers to understand that history has created a black and white portrait of a woman so colourful that it needs to be corrected.

You can pre-order Dressed for War at your local independent bookshop, at all other major bookshops in Britain, and online. The book will also be available as an e-book and an audio book.

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