Paris: Modelling and designing
Her first husband, Count Alain de La Falaise, introduced her to the Parisian salon world. They married in 1946, after which she adopted the name Maxime. They had two children, Loulou and Alexis, before divorcing in 1950.
Maxime met fashion designer Elsa Schiaparelli, whose Paris couture house had reopened after the war. She worked as "society saleswoman" for Schiaparelli and modeled its clothing, becoming known for her cropped gamine hairstyle and eclectic style. She also modeled for Christian Dior and was photographed by leading fashion photographers, including Cecil Beaton. She was photographed by Horst P. Horst for the April 15, 1950 cover of American Vogue.
Maxime went on to design children's clothes for the Schiaparelli boutique, BeBe, and ran the Paquin boutique. She later recalled: "Balenciaga taught me to sew. I was trying to make something. I decided to ask for directions right at the top, so I took my work over to him. We sat on his terrace and he taught me to stitch. Somebody else showed me how to drape, but I've never needed it, so I guess I've forgotten."
As a freelance fashion designer in the 1950s, she worked with Emilio Pucci in Italy. She designed knitwear for the London manufacturer Dorville. Her designs included a "boutique" wedding dress consisting of a white silk tuck-in sweater with trimming along the sleeves and a bateau neckline paired with a separate white brocade skirt by Sekers. Another design was a long-torso ensemble comprising a black open-knit wool sweater and a black faille skirt, accented with small ribbon bowknots.
Maxime eventually opened her own Paris couture house. In February 1955, she held an informal showing at the Hôtel Plaza Athénée in Paris, presenting town and boutique clothing that she had designed and made herself, along with jewellery of her own design. Her designs were included in the fourth collection of international couture models assembled for the Celanese Corporation of America. The collection was presented at benefit shows in April and May 1955, including events organized by the Junior League of Santa Barbara, the Art Institute of Kansas City, St. James Church in New York, the Travelers Aid Society's 50th-anniversary celebration in New York, the Girls' Club in Boston, and the Maternity Center in Chicago.
After two years, Maxim's fashion house closed. In 1957, she was commissioned to design low-priced "dime store" clothing for Prisunic, a French retail chain. In 1959, Gabrielle Aghion hired her to design for Chloé.
New York: Designing and food writing
In 1961, Maxime entered the American ready-to-wear market, designing a collection for Bloomingdale's.
In 1967, she married John McKendry, curator of prints and photographs at the Metropolitan Museum of Art. Their marriage placed her at the intersection of the city's established cultural institutions and its emerging artistic and creative communities.
In 1970, she began writing a food column for Vogue under her married name Maxime McKendry. Her writing combined recipes with observations about food and entertaining and drew on the English and Irish cooking of her childhood. Her first cookbook, Seven Centuries of English Cooking: A Collection of Recipes, was published in 1973. The book traced English recipes from the medieval period through the 20th century.
Maxime continued to work in fashion, designing clothing for several companies. Her designs included separates for Blousecraft, knitwear for Harmon Knitwear, and a collection of "kitchen clothes" for Swirl, which earned her the American Printed Fabrics Council's Tommy Award. Most of her business was with specialty shops, although her clothing was also sold at Bloomingdale's and Henri Bendel's Cachet.
In the early 1970s, Maxime became part of Andy Warhol's social circle in New York. She was referred to as the "Den mother" to the "Factory kids." Warhol considered de la Falaise for a role as a chef in one of his proposed television projects. Although the project was never produced, she appeared in Warhol's Phoney, a video-taped soap opera, featuring Candy Darling and Brigid Berlin in 1973. Maxime's scene with art historian John Richardson was filmed in her apartment. She subsequently cast by Warhol associate Paul Morrissey in Blood for Dracula (1974), in which she played La Marchesa di Fiore. During filming in Italy, she cooked Italian dishes that she had learned from fashion designer Valentino.
Maxime was also a contributing editor for Warhol's Interview magazine. She interviewed photographer Horst P. Horst for the November 1975 issue, and singer Patti Smith for the February 1976 issue. Maxime and her husband had previously sponsored her poetry readings in the British Colonial drawing room of their apartment.
In 1977, Warhol asked Maxime to devise a menu for the proposed "Andy-Mat," his planned version of an automat. Her suggestions included onion tarts, shepherds' pie, fish cakes, Irish lamb stew, key lime pie and a "nursery cocktail" of milk on the rocks, reflecting her expertise for English and Irish cuisines.
In 1980, Doubleday published Food in Vogue, a collection of recipes compiled by Maxime from her food column Vogue and a series of interviews with celebrities in their own kitchens. The book featured her own illustrations and recipes from a range of culinary traditions.
After her husband died, her daughter Loulou secured her a job designing scarves, shoes and bedding for Yves Saint Laurent licensees in the United States.
Maxime ventured into interior design. Her "Africanated" furniture, decorated with deep-colored geometric patterns, was exhibited at New York's Judith Goldfarb Gallery in 1991. Her pieces were purchased by clients including socialite Nan Kempner and model Iman.
