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Daisy Fellowes
Daisy Fellowes
Daisy Fellowes
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Daisy Fellowes (née Marguerite Séverine Philippine Decazes de Glücksbierg; 29 April 1890 – 13 December 1962)[1] was a prominent French socialite, acclaimed beauty, minor novelist and poet, Paris editor of American Harper's Bazaar, fashion icon, and an heiress to the Singer sewing machine fortune.

Key Information

Parents and childhood

[edit]

Born in Paris and known as Daisy, she was the only daughter of Isabelle-Blanche Singer (1869–1896) and Jean Élie Octave Louis Sévère Amanien Decazes de Glücksbierg (1864–1912), 3rd Duke Decazes and Duke of Glücksbierg. Her maternal grandfather was Isaac Singer, the American sewing machine pioneer. After her mother's suicide, she and her siblings were largely raised by their maternal aunt, Winnaretta Singer (Princess Edmond de Polignac), a noted patron of the arts, particularly music.

First marriage

[edit]

Her first husband, whom she married on 10 May 1910 in Paris, was Jean Amédée Marie Anatole de Broglie, Prince de Broglie (born in Paris on 27 January 1886). He reportedly died of influenza on 20 February 1918 while serving with the French Army in Mascara, Algeria, though there was gossip that he actually committed suicide as a result of his homosexuality having been exposed.

Through his mother Jeanne Eméline, Princesse de Broglie, née Cabot de Dampmartin (1864–1901), Jean Amédée Marie Anatole de Broglie was related to Pierre Victor, Baron de Besenval, the former owner of the Hôtel de Besenval. Accordingly, the family still possessed some heirlooms of this Swiss noble family with once excellent connections in France.[2]

Daisy and Jean Amédée Marie Anatole de Broglie's country estate was Compton Beauchamp House in Oxfordshire, where they raised three daughters:

Princess Jacques De Broglie
Prince Jacques De Broglie
  • Princess Jacqueline Marguerite de Broglie (Paris, 5 January 1918 – Crans-Montana, Valais 26 February 1965). Married to Alfred Ignaz Maria Kraus (Sarajevo, 28 November 1908–) in Neuilly, France, 6 October 1941. Divorced in Münster, 3 February 1958. After her husband—a Siemens electronics senior manager who served as a counter-espionage agent with the Abwehr—[4] was accused of betraying members of the French Resistance during World War II to protect his wife, also a member of the Resistance, Jacqueline Kraus had her head shaved as punishment.[5]

Of her Broglie children, the notoriously caustic Fellowes once said, "The eldest, Emmeline, is like my first husband only a great deal more masculine; the second, Isabelle, is like me without guts; [and] the third, Jacqueline, was the result of a horrible man called Lischmann ...."[6]

Second marriage

[edit]

Her second husband, whom she married on 9 August 1919 in London, was The Hon. Reginald Ailwyn Fellowes (1884–1953), of Donnington Grove. He was a banker, cousin of Winston Churchill and the son of William Fellowes, 2nd Baron de Ramsey.

They had one child, Rosamond Daisy Fellowes (1921–1998). She married her first husband in 1941 (divorced 1945), Captain James Gladstone, and had one son, James Reginald (born 1943). She married her second husband in 1953 (divorced), Tadeusz Maria Wiszniewski (1917–2005); they had one daughter, Diana Marguerite Mary Wiszniewska (born 1953).

Affairs

[edit]

Among Fellowes's lovers was Duff Cooper, the British ambassador to France. She also attempted to seduce Winston Churchill, but failed, shortly before marrying his cousin Reginald Fellowes.[7]

Literary works

[edit]

Fellowes wrote several novels and at least one epic poem. Her best-known work is Les dimanches de la comtesse de Narbonne (1931, published in English as "Sundays"). She also wrote the novel Cats in the Isle of Man.

Status as fashion icon

[edit]

She was known as one of the most daring fashion plates of the 20th century, arguably the most important patron of the surrealist couturier Elsa Schiaparelli. She was also a friend of the jeweller Suzanne Belperron,[8] and she was a longtime customer of the jeweller Cartier.[9]

Death

[edit]

Daisy Fellowes died on 13 December 1962 at her hôtel particulier in Paris at number 69, rue de Lille.[10]

See also

[edit]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Daisy Fellowes

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from Grokipedia
Daisy Fellowes (born Marguerite Séverine Philippine Decazes de Glücksberg; April 29, 1890 – December 13, 1962) was a French-American heiress, , and celebrated for her bold style, literary pursuits, and editorial influence in the interwar era. As the only child of French nobleman Jean Élie Octave Louis Sévère Amanieu d. Decazes, 3rd of Decazes, and Isabelle-Blanche Singer, daughter of sewing machine inventor Isaac Merritt Singer, she inherited substantial wealth from the Singer fortune following her mother's in 1896. Raised primarily by her aunt, the arts patron , Princesse de Polignac, Fellowes navigated through two marriages: first to Prince Jean de Broglie in 1910, with whom she had three daughters before his death in in 1918, and second to British banker Ailwyn Fellowes in 1919, with whom she had one daughter. Renowned as one of the best-dressed women of her time, Fellowes served as the Paris editor for Harper's Bazaar in the 1930s, where she championed innovative designers and helped launch careers, including that of photographer Ilse Bing. Her friendships with and other couturiers fueled her reputation for "studied simplicity," exemplified by her transformative jewelry commissions from and Cartier's iconic pieces. Beyond fashion, she was a published author, penning novels like Cats in the Isle of Man (1929) and poetry, while her sharp wit and scandalous anecdotes made her a central figure in the glittering, often tumultuous world of European aristocracy and .

Early Life and Education

Birth and Family Background

Marguerite Séverine Philippine Decazes de Glücksberg, known as Daisy Fellowes, was born on April 29, 1890, in , . She was the only daughter of Jean Élie Octave Louis Sévère Amanieu Decazes de Glücksberg, the 3rd Duke of Decazes and Duke of Glücksberg, a French aristocrat and equestrian who competed in the . Her mother was Isabelle Blanche Singer, a and heiress. Through her mother, Fellowes was the granddaughter of Isaac Merritt Singer, the American inventor and founder of the Singer Manufacturing Company, which revolutionized garment production and became one of the world's first multinational corporations. At his death in 1875, Singer left an estate valued at approximately $13 million—equivalent to over $300 million in modern terms—distributed among his numerous children, including Isabelle Blanche, thereby positioning Fellowes as an heiress to this industrial fortune from birth. This vast wealth, derived from the empire, afforded her a life of extraordinary privilege and access to international , shaping her identity as a prominent and . Fellowes' early family life was marked by tragedy when her mother died by on November 15, 1896, in , at the age of 27, leaving the six-year-old orphaned on the maternal side. Following this loss, she and her siblings were largely raised by her maternal aunt, , the Princesse de Polignac. Her father passed away on August 31, 1912, in Chantilly, , when Fellowes was 22 years old. These events underscored the tumultuous aristocratic roots that contrasted with her inherited opulence.

Childhood and Upbringing

Following the suicide of her mother, Isabelle-Blanche Singer, in 1896 when Daisy was six years old, she and her siblings were largely raised by their maternal aunt, Winnaretta Singer, the Princesse Edmond de Polignac. Winnaretta, a prominent patron of the arts and heiress to the Singer sewing machine fortune, provided a stable home for the children in her elegant residences in Paris and Venice. Daisy's early years under her aunt's care were marked by a transformation from a shy, awkward, and ungainly girl into a more confident young woman immersed in sophisticated surroundings. Through living in Winnaretta's household, Daisy gained early exposure to and intellectual circles, as her aunt's famous salon attracted leading artists, composers, and writers such as , , and . This environment, combined with the financial security from the Singer family inheritance, shaped her worldview and introduced her to the cultural elite that would influence her later life.

Marriages and Family

First Marriage to Jean de Broglie

In 1910, at the age of 19, Marguerite Séverine Philippine Decazes de Glücksberg, known as Daisy, married Prince Jean Amédée Marie Anatole de Broglie, a member of one of 's most illustrious noble families, renowned for its historical and scientific contributions. The wedding took place on May 10 in , a lavish society event that symbolized the union of Daisy's substantial inheritance from the Singer sewing machine fortune—stemming from her Isabelle-Blanche Singer—with the de Broglies' ancient title and prestige, fulfilling expectations of elevating her status within European . This alliance positioned Daisy prominently in French , where her wealth complemented the prince's lineage. The couple resided at their country estate, Compton Beauchamp House in , and had three daughters: Princess Emmeline Isabelle Edmée Séverine de Broglie, born on February 16, 1911, in ; Princess Isabelle Marguerite Jeanne Pauline de Broglie, born on July 27, 1912, in Lamorlaye; and Princess Jacqueline Marguerite de Broglie, born on January 5, 1918, in . The births occurred amid growing marital strains exacerbated by , as Prince de Broglie enlisted in the , leading to prolonged separations that tested the young family's stability. Prince de Broglie's military service culminated tragically when he succumbed to the Spanish influenza pandemic on September 20, 1918, while stationed in , at the age of 32. As a widow, Daisy assumed full responsibility for their daughters, arranging for their upbringing primarily under nannies and family oversight at Compton Beauchamp House, though she maintained a distant maternal role amid her own social engagements. This period marked Daisy's transition from her French aristocratic phase into broader European society, with the children inheriting their father's title and her mother's fortune.

Second Marriage to Reginald Fellowes

Following the death of her first husband, Prince Jean de Broglie, in September 1918 from during the final months of , Daisy Fellowes sought a new chapter amid the uncertainties of the postwar era. She married the Hon. Ailwyn Fellowes on 9 1919 in . , born in , was a prominent banker, the younger son of William Fellowes, 2nd Baron de Ramsey, and a of , which facilitated her entry into influential British circles. The union provided Daisy with a measure of stability, contrasting the disruptions of her earlier life, as she transitioned from to the British . The couple welcomed their only child together, daughter Rosamond Daisy Fellowes, on 16 January 1921. They made their primary home at Donnington Grove, a historic estate in , which Reginald acquired in 1945 and where they hosted gatherings reflective of their shared interests in and equestrian pursuits. Daisy's integration into British aristocratic life was seamless, bolstered by Reginald's connections; she became known as the Hon. Mrs. Reginald Fellowes and participated in elite social events, including hunts and country house parties that defined interwar and postwar upper-class leisure. Occasionally, her three daughters from her first marriage—Emmeline, Isabelle, and Jacqueline—joined the household at Donnington Grove, blending the families across cultural lines. The marriage endured for over three decades, marked by mutual companionship in London's and Berkshire's social scenes, until Reginald's death on 19 1953 at Donnington Grove. Throughout this period, the couple's life emphasized discretion and elegance, with Daisy maintaining residences in while prioritizing their English base for family and societal engagements.

Personal Relationships

Romantic Affairs

Daisy Fellowes was notorious for her numerous extramarital affairs, which contributed to her reputation as a scandalous figure in high society during the interwar period. One of her most enduring liaisons was a 17-year affair with British politician Alfred Duff Cooper, beginning in the 1920s and marked by intense passion and shared indulgence in opium. This relationship, among others, exemplified her voracious pursuit of romantic entanglements with prominent European aristocrats and politicians, including an early affair with Fred Cripps (later Lord Parmoor) in Monte Carlo, where she spied on her husband with a prostitute out of jealousy. Fellowes also attempted to seduce Winston Churchill shortly after his marriage, lying naked in wait at the Paris Ritz, though the advance was rebuffed. These affairs often generated public scandals and widespread media coverage, amplifying Fellowes' image as "the destroyer of many a happy home," a moniker bestowed by one of her former lovers. Her indiscretions extended to seducing her daughters' boyfriends and her best friends' husbands, fueling gossip in society columns and tabloids that portrayed her as a bold, unapologetic . Rumors of her drug use—morphine, , and —frequently intertwined with these stories, as she was known to introduce to her artistic acquaintances in during the 1910s, including the ballerina and Lord Berners, thereby influencing the bohemian circles she frequented. While no confirmed rumors of surfaced in contemporary accounts, her was a constant source of titillation in . The personal consequences of Fellowes' romantic pursuits were profound, straining both of her and leading to periods of . Her infidelities exacerbated tensions with her first husband, Prince Jean de Broglie, whose own rumored had already complicated their union, culminating in his untimely death in 1918 amid whispers of . In her second to Reginald Fellowes, her ongoing affairs created irreparable rifts, compounded by family controversies such as her Jacqueline's to a German spy during , which drew public condemnation and further isolated Fellowes from elite social networks. Despite these repercussions, her entanglements briefly overlapped with platonic friendships in artistic salons, where romantic pursuits sometimes blurred into broader social connections.

Social Circle and Friendships

Daisy Fellowes maintained a prominent position within elite artistic and social networks, largely through her familial connections to influential patrons. Her aunt, , the Princesse de Polignac, hosted a renowned salon in that served as a gathering place for figures, including and , exposing Fellowes to cutting-edge cultural exchanges from an early age. Fellowes cultivated enduring friendships with prominent writers, including , with whom she shared connections via the Polignac circle; Mitford's sister Diana once stayed at Fellowes' residence during visits to . These relationships facilitated lively literary discussions and mutual support within London's and 's intellectual scenes. Similarly, her ties to emerged through overlapping social orbits in the milieu, where exchanges on and society enriched her own creative pursuits. As a celebrated hostess, Fellowes organized legendary gatherings in Paris and London throughout the 1920s and 1930s, earning acclaim as the era's most devastatingly witty and stylish convener of high society. Her events drew artists, aristocrats, and intellectuals, solidifying her role as a vital connector in transatlantic elite networks. Following World War II, Fellowes' social circle shifted toward more intimate, enduring alliances with pre-war companions, reflecting a preference for trusted bonds amid postwar reconstruction and personal reflection in Paris.

Literary Career

Novels and Short Stories

Daisy Fellowes produced a modest body of prose fiction that drew heavily from her privileged vantage point within European , infusing her narratives with sharp wit and satirical observations on aristocratic folly. Her debut novel, Cats in the Isle of Man, published by the Dial Press in , exemplifies this approach through its humorous portrayal of elite life marked by romantic misadventures and social pretensions. The story centers on Claudia, the daughter of an American heiress and a Polish prince—echoing Fellowes' own heritage as the offspring of Singer fortune heiress Isabelle Singer and —whose twin brother dies in , leaving her to pursue ill-fated marriages to flawed noblemen like the philandering Count Robert and the equally unreliable Felix. The novel's themes revolve around the disillusionments of love and within the superficial confines of , where characters grapple with cultural clashes and moral ambiguities, often delivered through quippy asides that underscore the absurdities of their world—for instance, Count Robert's concern that Claudia's American heritage renders her "not entirely civilised." This blend of and reflects Fellowes' personal scandals and social observations, transforming insider anecdotes into a light yet biting commentary on privilege. Contemporary reviewers lauded it as a "clever study of a navigating a masculine world," highlighting its engaging take on gender dynamics amid societal excess. In 1930, Fellowes published Sunday, or A Working Girl's Lament, an illustrated work issued by A. Chêne in . Fellowes' most acclaimed prose work, Les dimanches de la comtesse de Narbonne (1935), later issued in English as Sundays: A Fantasy in 1960, extends these motifs into a more fantastical exploration of high-society ennui and relational intrigue, centering on the titular countess's Sundays as a for fleeting and hidden desires among the elite. While specific plot details remain sparse in critical accounts, the maintains her signature witty tone, critiquing and aristocratic vanity through imaginative narrative structures. Overall, Fellowes' fiction received mixed reception as minor but entertaining literature, often dismissed in later analyses as "justly neglected" due to its slender depth, yet buoyed by her fame as a and , which ensured modest commercial success and enduring interest among niche readers.

Poetry and Other Writings

Daisy Fellowes extended her literary endeavors into and miscellaneous writings that reflected her sophisticated , though specific collections and publications remain less documented than her prose works.

Fashion and Editorial Career

Status as Fashion Icon

Daisy Fellowes was frequently acclaimed as one of the best-dressed women of her era, earning repeated recognition on Vogue's prestigious lists during the and . Her impeccable style and fearless embrace of trends positioned her as a quintessential , often featured in the magazine's pages as a symbol of high- elegance. This status was not merely bestowed but actively cultivated through her discerning of leading designers, making her a pivotal figure in shaping interwar . Fellowes' signature looks prominently featured creations by , with whom she shared a close professional relationship; the designer credited a vivid 17.67-carat ring owned by Fellowes as the inspiration for her revolutionary "shocking pink" hue, which Fellowes boldly incorporated into her wardrobe of surrealist gowns and accessories. She was also a favored client of the American couturier , who crafted custom pieces tailored to her sophisticated yet audacious taste, including tailored suits that epitomized refined luxury. These ensembles often blended the geometric motifs and bold colors of —evident in her love for angular jewelry and structured silhouettes—with practical elements like beach pajamas and sportswear adapted for social settings, influencing the era's shift toward wearable glamour amid economic constraints. As the heiress to the vast Singer fortune, Fellowes inherited substantial wealth that funded her legendary personal collection of couture garments, jewelry, and accessories, allowing her to amass pieces from Cartier, , and other maisons that defined opulence. This extravagance not only sustained her status but also amplified her role as a trendsetter, as designers often debuted collections inspired by her preferences. Her elite social circle, encompassing artists and aristocrats, granted exclusive access to emerging trends, further enhancing her influence.

Role as Editor of Harper's Bazaar

Daisy Fellowes was appointed Paris editor of in 1933, a role in which she served until 1935, overseeing fashion coverage from the French capital for the American publication. In this position, often described as for the , she leveraged her deep connections within Parisian and couture circles to shape the magazine's reporting on European trends. During her tenure, Fellowes prominently featured innovative designers, particularly , whose bold, surrealist-inspired creations she championed through editorials and personal endorsements. She highlighted Schiaparelli's experimental pieces, such as the iconic shoe hat, which Fellowes herself modeled, helping to introduce these designs to an international readership and foreshadowing the dramatic shifts in fashion that would later define Christian Dior's New Look. Her editorial choices reflected her own discerning personal style, favoring dramatic, jewel-toned ensembles that blended opulence with modernity. Fellowes introduced innovative features to the magazine's Paris coverage, including society photography that captured the elite's sartorial elegance in candid, high-fashion settings. She helped launch the career of photographer Ilse Bing by assigning her early commissions for Harper's Bazaar, including portraits of Fellowes in 1933. Photographers like George Hoyningen-Huene and Cecil Beaton produced striking images under her guidance, such as Fellowes in Schiaparelli gowns with feather capes, emphasizing dynamic compositions and luxurious details. She also advocated for modern layouts that integrated bold typography and artistic spreads, drawing on the era's graphic innovations to make French fashion more visually compelling for global audiences. Fellowes' legacy as Paris editor lies in her pivotal role in elevating French fashion journalism on the international stage, bridging American readers with the vibrancy of Parisian couture and establishing a template for culturally attuned editorial leadership that influenced subsequent generations of fashion media. By prioritizing emerging talents and sophisticated visual storytelling, she solidified Harper's Bazaar's reputation as a conduit for European innovation, contributing to the magazine's enduring global prestige.

Later Life and Legacy

Final Years and Death

Following the death of her husband, Hon. Reginald Ailwyn Fellowes, on March 19, 1953, in Newbury, England, Daisy Fellowes became a and largely withdrew from public life, residing primarily at her at 69 rue de in . In her later years, Fellowes experienced increasing isolation amid declining health due to a bad heart, becoming a shadow of her former self with few friends remaining. Fellowes died on , 1962, at the age of 72, in her home. She was entombed in the Decazes Family Vault at Bonzac Cemetery, , , with family members, including children from her first marriage, attending the private funeral arrangements. Following her death, her extensive fashion collection, notably iconic jewelry pieces such as the Cartier Tutti Frutti necklace and earrings, was inherited by her eldest , Emmeline de Broglie (Comtesse de Castéja), who later had items modified and eventually consigned them for auction.

Cultural Impact and Recognition

Daisy Fellowes' influence on fashion endures through her patronage of designers like and her role in popularizing bold, eclectic styles during the , which continue to inspire contemporary exhibitions and collections. Pieces from her wardrobe are preserved in major institutions like , highlighting her as a key client who embodied the designer's surrealist vision. Similarly, Schiaparelli's iconic "shocking pink" hue was developed in response to a owned by Fellowes, a color that has been revived in modern fashion shows and editorials as a symbol of daring . Her jewelry commissions, particularly Cartier's pieces with their vibrant, carved gemstones inspired by Indian motifs, have seen revivals in 21st-century design; the 1936 Collier Hindou necklace she commissioned fetched a record $2.65 million at a 1991 auction and remains a reference for high-end jewelers blending color and . Exhibitions such as "Shocking! The Art and Fashion of " at the Philadelphia Museum of Art in 2012 underscore Fellowes' archival significance, portraying her as one of the designer's prized clients alongside figures like , and linking her personal style to broader surrealist movements. In 2025, her Cartier jewels were featured in an exhibition in , underscoring their enduring appeal. Fellowes receives recognition in biographical works exploring high society, where she is depicted as a central figure in the 's glamorous circles; Mary S. Lovell's 2016 book The Riviera Set details her hosting at the Château de l'Horizon and her intersections with luminaries like and , emphasizing her as a bridge between literary and social worlds. Her life has indirectly influenced portrayals of socialites in films and media, serving as a prototype for the witty, scandalous heiresses in adaptations like Baz Luhrmann's 2013 , which captures the era's opulent excess she exemplified. Artifacts related to Fellowes, including Jean Cocteau's 1926 drawing Portrait of Daisy Fellowes, are held in French cultural repositories like the , preserving her ties to artists and ensuring her visual legacy in public collections.

References

  1. https://www.findagrave.com/memorial/228923305/daisy-fellowes
  2. https://art.nelson-atkins.org/objects/68286/the-honorable-daisy-fellowes-harpers-bazaar
  3. https://www.vancleefarpels.com/us/en/the-maison/articles/daisy-fellowes-manchette-cuffs.html
  4. https://ancestors.familysearch.org/en/L2PM-SH8/reginald-ailwyn-fellowes-1884-1953
  5. https://www.metmuseum.org/art/collection/search/265818
  6. https://neglectedbooks.com/?p=6412
  7. https://www.olympedia.org/athletes/61807
  8. https://www.findagrave.com/memorial/228925112/isabelle_blanche-decazes_de_gl%25C3%25BCcksberg
  9. https://www.immigrantentrepreneurship.org/entries/isaac-merritt-singer/
  10. https://americanbusinesshistory.org/the-sordid-saga-of-mr-singer-and-his-sewing-machine/
  11. https://www.nytimes.com/1997/04/13/arts/jewelry-that-gleams-with-wicked-memories.html
  12. https://www.geni.com/people/Isabelle-de-Gl%25C3%25BCcksberg/6000000013927243059
  13. https://www.geni.com/people/Jean-Decazes-de-Gl%25C3%25BCcksberg-3rd-Duc-Decazes-and-3rd-Duke-of-Gl%25C3%25BCcksberg/6000000013939559101
  14. http://tweedlandthegentlemansclub.blogspot.com/2015/07/the-most-wicked-daisy-fellowes.html
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  18. http://www.thepeerage.com/p35788.htm
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  22. https://www.theparisreview.org/blog/2013/05/31/a-visit-with-patrick-leigh-fermor-part-3/
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  33. https://thepullmag.substack.com/p/shocking-pink-how-one-colour-and
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  44. https://www.metmuseum.org/art/collection/search/83355
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  46. https://www.visitpham.org/exhibitions/shocking-the-art-and-fashion-of-elsa-schiaparelli
  47. https://somethingaboutrocks.com/article/cartier-jewels-worn-by-the-most-stylish-woman-in-the-world-arrive-in-london/
  48. https://www.kirkusreviews.com/book-reviews/mary-s-lovell/the-riviera-set/
  49. https://www.centrepompidou.fr/en/ressources/oeuvre/cxAxKMz
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