{"id":106972,"date":"2017-01-23T18:06:04","date_gmt":"2017-01-23T23:06:04","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=106972"},"modified":"2017-01-23T19:58:16","modified_gmt":"2017-01-24T00:58:16","slug":"remembering-willa-kim","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/01\/23\/remembering-willa-kim\/","title":{"rendered":"Remembering Willa Kim"},"content":{"rendered":"

\"\"<\/a><\/p>\n

 <\/p>\n

Anyone who wades into The Paris Review<\/em>\u2019s files\u2014particularly material from the early days in Paris, in the 1950s\u2014enters a kind of historical haze. It\u2019s difficult to separate the fact from the fiction, the magazine\u2019s real history from its lore. Reliable records are hard to come by. Certain documents,\u00a0contracts in particular, are nonexistent.<\/p>\n

The first time I met Willa Kim, she rescued me from such a haze.\u00a0<\/p>\n

It was early 2012, and I was searching for the artist behind the cover of the Review<\/em>\u2019s first issue<\/a>, published in 1953. (It depicts a trumpeting rider astride Pegasus; the image, presumably, is based on a sculpture by Antoine Coysevox<\/a>.)<\/p>\n

\u201cIf in doubt, credit it to Billy,\u201d Peter Matthiessen told me over the phone. Matthiessen was referring to William P\u00e8ne du Bois<\/a>, the Review<\/em>\u2019s original art editor.<\/p>\n

But I was skeptical. P\u00e8ne du Bois\u2019s artwork, which appeared elsewhere in the archive, was more textured, more expressive; it didn\u2019t quite jibe with the style of the graphic. So I dug a little deeper.<\/p>\n

P\u00e8ne du Bois died in 1993, but a quick search showed that his widow, Willa Kim, was still alive. What\u2019s more, she lived in New York, just a few miles from The Paris Review<\/em>\u2019s office. I rang her up.<\/p>\n

\u201cIt\u2019s an image William found,\u201d Willa declared, after plucking the copy in question from a complete set on her bookshelf. \u201cHe didn\u2019t draw it himself. It was found art.\u201d<\/p>\n

No matter that nearly sixty years had passed since she\u2019d thought of the image; the truth about its provenance was plain as day.<\/p>\n

So it was with Willa\u2014with whom, in the months to come, I struck up something of a friendship. I\u2019d visit her at her apartment on Eighty-Second Street, towing along the latest copy of The Paris Review<\/em>. In return, she offered up story after story of the \u201cearly days,\u201d illuminating that era of the magazine\u2014the Review<\/em> of the early fifties, when she first came to know it\u2014with the clarity and grace of someone who\u2019d witnessed it up close, without being swept up by its many legends.<\/p>\n

\"\"<\/a><\/p>\n

To visit Willa in her Upper West Side apartment was to stroll through an artistic menagerie: mannequins were draped with elaborate, aging costumes; beaded necklaces dangled from fringed lampshades; magnificent floral arrangements were splayed throughout the many rooms. Every surface was teeming with art; the apartment itself<\/em> was art. Drawings and paintings covered the walls, showcasing many of the artists who\u2019d contributed early portfolios and illustrations to the Review<\/em>. Her late husband, Billy, was well represented, of course\u2014but so, too, were Jean Carzou and Rico Lebrun and, perhaps more than anyone else, Tom Keogh<\/a>.<\/p>\n

\"\"<\/a><\/p>\n

Willa was particularly fond of Tom\u2019s work\u2014his formal paintings but also the quick offhand sketches that she referred to as his \u201cdoodles.\u201d (Some of Tom\u2019s work, and some of Willa\u2019s, was later published in an archival portfolio<\/a> curated by\u00a0Nicole Rudick.) \u201cIt\u2019s so sad,\u201d Willa told me once, referring to Tom. \u201cHe died much too young. He was such a gifted American artist who no one knows anything about.\u201d<\/p>\n

Of course, there was Willa\u2019s own artwork, too: her costumes, her hats, her props, her sketches, each one a springboard for a story about her collaborations with the titans of opera, ballet, and Broadway.<\/p>\n

\"\"<\/a><\/p>\n

A small room, off to the left as one entered, served as her studio. In it, she kept a bulging Rolodex and an array of watercolors. Her designs\u2014some of them stuck to the wall, some of them strewn about on scraps of loose paper\u2014sat beneath a haphazard arrangement of knickknacks: old photographs, a collection of ballet slippers, a mobile.<\/p>\n

On more than one occasion, as I turned to leave, Willa and I lingered at a frame outside her studio that showcased a costume design she was particularly proud of: one worn by Mikhail Baryshnikov\u2014\u201cHe was such<\/em> a beautiful dancer!\u201d\u2014not long after he defected from the Soviet Union. Willa had draped him, provocatively, in a modified American flag.<\/p>\n

\"\"<\/a><\/p>\n

Willa Kim died a month ago, on December 23. She was ninety-nine years old. Her obituary in the\u00a0New York Times<\/em><\/a> hailed her achievements as a \u201ctheatrical costume designer,\u201d highlighting her Tony Awards, her Emmy, the longevity of her artistic contributions. But to those of us at the Review<\/em> who came to know her in more recent years, after she\u2019d rejoined the fold, Willa meant something else, too: she was one of the last living participants in The Paris Review<\/em>\u2019s early days, when George Plimpton and Peter Matthiessen and the rest of the gang\u2014many of whom would later become literary legends\u2014were awkward, boyish expats, only recently graduated, with big dreams but, as yet, little to show for them.<\/p>\n

Willa told me once that she and Billy\u2014both of whom were ten years older than the rest of the Review<\/em>\u2019s founders and early editors\u2014often felt like the \u201cparents\u201d of the group. If that was the case, then lucky for their children.<\/p>\n

And\u2014all these years later, still feeling her influence\u2014lucky for us, too.<\/p>\n

 <\/p>\n

Stephen Hiltner is a staff editor at the <\/em>New York Times. He was an editor at <\/em>The Paris Review from 2010 to 2016. You can find him on\u00a0<\/em>Instagram<\/em><\/a>\u00a0or\u00a0<\/em>Twitter<\/em><\/a>.<\/em><\/p>\n

All photos are by the author.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

To visit Willa in her Upper West Side apartment was to stroll through an artistic menagerie.<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[27],"tags":[16304,26861,26860,26858,26859,2861,20537,26862,124,125,1494,6025,31,19179,426,3423,347,10208,1910],"class_list":["post-106972","post","type-post","status-publish","format-standard","hentry","category-in-memoriam","tag-archive","tag-costume-designer","tag-early-editors","tag-first-issue","tag-founders","tag-history","tag-in-memoriam","tag-jean-carzou","tag-new-york","tag-new-york-city","tag-new-york-times","tag-obituary","tag-peter-matthiessen","tag-rico-lebrun","tag-the-paris-review","tag-tom-keogh","tag-upper-west-side","tag-willa-kim","tag-william-pene-du-bois"],"acf":[],"yoast_head":"\nWilla Kim\u2019s Sixty-Year History with \u2018The Paris Review\u2019<\/title>\n<meta name=\"description\" content=\"The costume designer Willa Kim died in December. 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