Edie Sedgwick
Edie Sedgwick was more than just a socialite; she was a dazzling, fleeting supernova who illuminated the New York art scene of the 1960s, embodying the wild energy and restless spirit of an era. As muse to Andy Warhol and a groundbreaking fashion icon, she captivated a generation, yet beneath the glamorous surface lay a story of profound vulnerability and struggle. Her meteoric rise and tragic fall remain a poignant reflection of fame's double-edged sword. Edie Sedgwick transcended her privileged upbringing to become a central figure in Andy Warhol's avant-garde Factory, defining a new kind of celebrity. Her distinctive style and captivating screen presence made her an undeniable fashion icon and a symbol of 1960s youth culture, despite her films rarely being seen by the mainstream. Behind the dazzling persona, Sedgwick grappled with deep-seated personal trauma, mental health issues, and drug abuse, leading to a tragic early death that cemented her legendary, yet cautionary, status.
AI Summary
Edie Sedgwick was more than just a socialite; she was a dazzling, fleeting supernova who illuminated the New York art scene of the 1960s, embodying the wild energy and restless spirit of an era. As muse to Andy Warhol and a groundbreaking fashion icon, she captivated a generation, yet beneath the glamorous surface lay a story of profound vulnerability and struggle. Her meteoric rise and tragic fall remain a poignant reflection of fame's double-edged sword.
- Edie Sedgwick transcended her privileged upbringing to become a central figure in Andy Warhol's avant-garde Factory, defining a new kind of celebrity.
- Her distinctive style and captivating screen presence made her an undeniable fashion icon and a symbol of 1960s youth culture, despite her films rarely being seen by the mainstream.
- Behind the dazzling persona, Sedgwick grappled with deep-seated personal trauma, mental health issues, and drug abuse, leading to a tragic early death that cemented her legendary, yet cautionary, status.
The Enigmatic Edie Sedgwick
Born Edith Minturn Sedgwick, this American actress, model, and socialite became one of the most mesmerizing figures of the 1960s. She was best known as a 'Warhol superstar'—a captivating muse who starred in Andy Warhol's experimental films and became synonymous with his legendary studio, The Factory.
Beyond the silver screen, Edie was a magnetic style icon whose unique look set trends. In 1965, Vogue magazine recognized her potent influence on youth culture, anointing her a 'Youthquaker.' Yet, behind the public dazzle lay a life shadowed by profound challenges, leading to her untimely death at just 28.
A Privileged Yet Troubled Childhood
Edie was born into immense privilege in Santa Barbara, California, the seventh of eight children in the historic Sedgwick family. Her father was a rancher and sculptor, and her mother's family boasted ties to railroad magnates and prominent educators, including the founder of the esteemed Groton School.
Despite their wealth and high social standing, Edie's early life was far from idyllic. Raised in isolation on sprawling ranches and rigidly controlled by her parents, she and her siblings were instilled with a sense of superiority that further detached them from the outside world. This environment fostered a deep sense of loneliness and emotional turmoil.
By her early teens, Edie's struggles manifested in an eating disorder, marking the beginning of a lifelong battle with her mental and physical health. Family accounts describe her father, Francis, as narcissistic, emotionally distant, and frequently abusive, casting a long shadow over her formative years.
Tragically, Edie recounted being sexually molested by her father from a young age—claims he vehemently denied, often responding with violence and tranquilizers. These traumatic experiences contributed to a fragile psychological state that would profoundly impact her adult life.
Her struggles led to multiple institutionalizations during her youth, including at Silver Hill Hospital and the behavioral health wing of New York Hospital. Around this time, she experienced a brief relationship, an unplanned pregnancy, and made the difficult decision to have an abortion, citing her ongoing psychological issues.
In autumn 1963, Edie moved to Cambridge, Massachusetts, to study sculpture, immersing herself in an elite bohemian social scene at Harvard. It was here that she began to find a nascent sense of independence, though her emotional vulnerabilities remained close to the surface.
The loss of her older brothers, Francis Jr. ('Minty') and Robert ('Bobby'), within eighteen months of each other, dealt a devastating blow. Minty tragically died by suicide in 1964 after years of mental breakdowns, and Bobby succumbed to injuries from a motorcycle crash on New Year's Eve 1965, leaving Edie grief-stricken.
Upon her twenty-first birthday in April 1964, Edie received an $80,000 trust fund, providing her with newfound financial freedom. That September, she made the pivotal decision to relocate to New York City, determined to pursue a career in modeling—a move that would soon plunge her into the heart of the burgeoning counterculture scene.
The Factory Girl: Muse to Warhol
In March 1965, Edie Sedgwick's life took a dramatic turn when she met Andy Warhol at a party. This chance encounter quickly blossomed into a profound artistic partnership, and Edie became an almost constant presence at Warhol's iconic Midtown Manhattan studio, The Factory.
The Factory was more than a studio; it was a vibrant, chaotic hub of art, music, and unconventional personalities. Here, Warhol, a master of pop art and performance, recognized Edie's unique charisma and magnetic screen presence, immediately casting her in his experimental 'underground films'.
Edie's early appearances in films like 'Horse' and 'Vinyl' captured Warhol's attention, leading him to feature her centrally in subsequent projects. He famously dubbed her his 'Superstar,' a term that would quickly enter the popular lexicon, embodying a new kind of celebrity forged in the avant-garde art world.
A Star on Screen
Her first starring role was in 'Poor Little Rich Girl' (1965), a semi-improvised film shot largely in her own apartment, offering an intimate, almost voyeuristic glimpse into her daily life. This was followed by films like 'Kitchen' and 'Beauty No. 2', where Edie's vulnerability and captivating allure were laid bare.
Warhol's films, while groundbreaking, were primarily shown in underground theaters or at The Factory itself, never achieving mainstream commercial success. Yet, Edie's appearances and distinctive personal style propelled her into the mainstream media spotlight, making her an instant fashion sensation.
Her signature look—black leotards, miniskirts (often altered children's skirts), chandelier earrings, heavy eye makeup, and cropped, silver-sprayed hair (mirroring Warhol's own)—became iconic. She wasn't just wearing fashion; she was defining it, embodying the rebellious, free spirit of the 1960s.
Vogue magazine cemented her status, not only naming her a 'Youthquaker' but also an 'It Girl,' recognizing her profound influence. Photographers like Enzo Sellerio and Fred Eberstadt captured her striking image, and even artist Roy Lichtenstein and his wife famously dressed as Warhol and Sedgwick for a Halloween party in 1965, solidifying her cultural impact.
Shifting Circles and Declining Health
By late 1965, Edie's relationship with Warhol began to fray as she gravitated towards the orbit of Bob Dylan. She officially left The Factory scene in early 1966, seeking new creative avenues and a different kind of recognition.
Despite Warhol's public praise—he called her 'the best, the greatest'—he expressed concern for her future. After a traumatic apartment fire in October 1966, Edie briefly returned to The Factory for one final, unreleased film project, 'The Andy Warhol Story', before parting ways for good.
Later Years and Tragic Decline
The years following her departure from The Factory were marked by a tragic decline. Returning home for Christmas in 1966, Edie was immediately placed in a psychiatric ward by her concerned parents, a stark reminder of her ongoing mental health battles.
She attempted to forge a legitimate acting career, even auditioning for Norman Mailer's stage adaptation of 'The Deer Park'. Mailer recognized her raw, tortured talent but ultimately deemed her too sensitive, fearing she would be 'immolated after three performances' from the sheer emotional toll.
In March 1967, Edie began filming 'Ciao! Manhattan', a semi-autobiographical underground film meant to tell her story. However, her rapidly deteriorating health, exacerbated by severe drug abuse, led to numerous suspensions in production and repeated hospitalizations throughout 1968 and 1969 for both addiction and mental health issues.
While hospitalized in Santa Barbara in August 1969, Edie met Michael Post, a fellow patient also battling addiction. They formed a bond and eventually married in July 1971, a hopeful turning point in her tumultuous life.
Determined to complete 'Ciao! Manhattan', Edie reconnected with the film crew in late 1970. She recorded audio tapes reflecting on her life, providing raw, confessional material that was woven into the film's dramatic narrative. The film, a poignant capstone to her brief career, was finally released posthumously in February 1972.
The Final Chapter
On the night of November 15, 1971, Edie attended a fashion show and then a party, where she consumed alcohol. After calling her husband, Michael Post, to pick her up, she expressed doubts about their marriage on the drive home. Before they fell asleep, Post gave her prescribed medication.
Post later recounted that Edie quickly fell asleep, and her breathing became labored. He attributed it to her heavy smoking and went to sleep himself. The next morning, at 7:30 a.m., Michael awoke to find Edie Sedgwick dead.
The coroner ruled her death as 'undetermined/accident/suicide.' Her death certificate stated the immediate cause as 'probable acute barbiturate intoxication' combined with ethanol intoxication. Her blood alcohol content was 0.17%, and her barbiturate level was 0.48 mg%, a tragic end to a life lived too fast.
In a final poignant detail, Edie was not buried in her family's historic Sedgwick Pie cemetery plot but in the smaller Oak Hill Cemetery in Ballard, California, a quiet resting place distinct from her family's grand lineage.
Personal Life and Enduring Legacy
During her time at the Chelsea Hotel in 1965, Edie grew close to Bob Dylan, sparking long-standing rumors of a romantic relationship. Some claimed she believed they would star in a film together, unaware that Dylan had secretly married Sara Lownds in November 1965.
Dylan has consistently denied any romantic involvement, stating in 1985, 'I never had that much to do with Edie Sedgwick. ... I don't remember Edie that well. I remember she was around, but I know other people who, as far as I know, might have been involved with Edie.'
Article
Edie Sedgwick
Edith Minturn Sedgwick Post (April 20, 1943 – November 16, 1971) was an American actress, model, and socialite. Best known as a Warhol superstar, she gained widespread recognition as a style icon; in 1965, Vogue magazine named her a "Youthquaker," recognizing her influence on youth culture.
Sedgwick starred in several of Andy Warhol's underground films, including Poor Little Rich Girl (1965) and Beauty No. 2 (1965). After leaving Warhol's Factory scene in 1966, she pursued acting and modeling independently but never regained the same level of prominence. Her mental health deteriorated from drug abuse, and she struggled to complete the semi-autobiographical film Ciao! Manhattan (1972). Sedgwick died of an overdose in 1971 at the age of 28.
Early life and education (1943–1964)
Edie Sedgwick
Edie Sedgwick was born in Santa Barbara, California, the seventh of eight children of Alice Delano de Forest (1908–1988) and Francis Minturn Sedgwick (1904–1967), a rancher, sculptor and member of the historical Sedgwick family of Massachusetts. Sedgwick's mother was the daughter of Henry Wheeler de Forest, the president and chairman of the board of the Southern Pacific Railroad. Her maternal great-grandfather, Reverend Endicott Peabody, founded the Groton School in Groton, Massachusetts. She was named after her father's aunt, Edith Minturn Stokes, who was painted with her husband, Isaac Newton Phelps Stokes, by John Singer Sargent. She was of English and French Huguenot ancestry.
Despite the family's wealth and high social status, Sedgwick's early life was troubled. Initially homeschooled and cared for by nannies, Sedgwick and her siblings were rigidly controlled by their parents. Being raised on their father's California ranches, they were largely isolated from the outside world and were instilled with the idea that they were superior to most of their peers. It was within these familial and social conditions that Sedgwick, by her early teens, developed an eating disorder, settling into an early pattern of binging and purging. At age 13, her grandfather Henry Dwight Sedgwick died, and she began boarding at the Branson School near San Francisco. According to her older sister Alice "Saucie" Sedgwick, she was soon taken out of school because she had anorexia. Her father severely restricted her freedom when she returned home.
All the Sedgwick children had conflicted relationships with their father whom they called "Fuzzy." By most accounts, he was narcissistic, emotionally remote, controlling, and frequently abusive. He also openly carried on extramarital affairs with other women. On one occasion, Sedgwick walked in on her father while he was having sex with one of his mistresses. She reacted with great surprise, but he claimed that she had imagined it, slapped her, and called a doctor to administer tranquilizers to her. As an adult, Sedgwick told people that he had attempted to molest her several times, beginning when she was aged 7.
In 1958, Sedgwick's parents enrolled her at St. Timothy's School in Maryland. She was eventually taken out of the school due to her continuing eating disorder. In the autumn of 1962, at her father's insistence, Sedgwick was committed to the private Silver Hill Hospital in New Canaan, Connecticut. As the regime was very lax, she easily manipulated her situation at Silver Hill and her weight kept dropping. She was later sent to Bloomingdale, the behavioral health wing in the Westchester County division of New York Hospital, where her anorexia improved markedly. Around the time she left the hospital, she had a brief relationship with a Harvard student, became pregnant and procured an abortion, citing her present psychological issues.
In the autumn of 1963, Sedgwick moved to Cambridge, Massachusetts, and began studying sculpture with her cousin, artist Lily Saarinen. According to Saarinen, Sedgwick "was very insecure about men, though all the men loved her". During this period, she partied with members of an elite bohemian fringe of the Harvard social scene.
Sedgwick was deeply affected by the loss of her older brothers, Francis Jr. (known as "Minty") and Robert (known as "Bobby"), who died within eighteen months of each other. Francis, who had a particularly unhappy relationship with their father, suffered several mental breakdowns, eventually committing suicide in 1964 while at Silver Hill Hospital. Robert, her second oldest brother, also suffered from mental health problems and died after falling into a coma when his motorcycle crashed into the side of a New York City bus on New Year's Eve 1965.
On her twenty-first birthday in April 1964, Sedgwick received an $80,000 trust fund from her maternal grandmother. In September 1964, she relocated to New York to pursue a career in modeling. In December 1964, she was injured in an automobile accident.
The Factory (1965–1966)
Film career
In March 1965, Edie Sedgwick met artist and filmmaker Andy Warhol at a party hosted by producer Lester Persky and soon became a regular presence at Warhol's Midtown Manhattan studio, The Factory.
During one visit, Warhol was filming Horse (1965), in which Sedgwick makes an appearance marking the beginning of her on-screen collaboration with him. Soon after, she made a brief cameo in Vinyl (1965), Warhol's adaptation of Anthony Burgess's A Clockwork Orange. Although the film featured an all-male cast, Warhol inserted Sedgwick into the project. Though her appearances in both films were limited, they attracted considerable attention and prompted Warhol to cast her as the central figure in his subsequent work. He dubbed Sedgwick his "Superstar," and their frequent public appearances helped popularize the term. Sedgwick herself explained the concept on The Merv Griffin Show, reflecting its novelty to mainstream audiences at the time.
Sedgwick's first starring role was in Poor Little Rich Girl (1965), originally intended as part of a planned series known as The Poor Little Rich Girl Saga, which also included Restaurant, Face, and Afternoon. Filmed largely in Sedgwick's apartment, the film portrayed her daily routines in a casual, observational style. She next appeared in Kitchen, filmed in May 1965 and released the following year, written by Factory regular Ronald Tavel and featuring several members of Warhol's circle. After Kitchen, Chuck Wein replaced Tavel as writer and assistant director on Beauty No. 2 (1965), filmed in June and premiered in July; the film depicts Sedgwick reclining on a bed in her underwear with Gino Piserchio as she is being taunted by Wein off-camera. Throughout 1965, Sedgwick continued working with Warhol on films including Outer and Inner Space, Prison, and Lupe.
By late 1965, however, her relationship with Warhol had begun to deteriorate as Sedgwick gravitated towards the Bob Dylan crowd, and she left the Factory scene in early 1966. In May 1966, Warhol told the Los Angeles Times: "Edie was the best, the greatest. She never understood what I was doing to her. I don't know what's going to happen to her now." After being dismissed from Dylan's circle and surviving a fire in her apartment in October 1966, Sedgwick returned to the Factory seeking work. Warhol cast her in one final project, The Andy Warhol Story, in which René Ricard satirically portrayed Warhol. Filmed in November 1966, the film was never released and was screened only once at the Factory.
Modeling career
Warhol's films were for the most part shown only in underground film theaters and in viewings held at The Factory, and were not commercially successful. Despite this, Sedgwick attracted growing mainstream media attention for both her film appearances and her personal style. Her look—black leotards and tights, miniskirts, chandelier earrings, and heavy eye makeup—made her a fashion icon of the 1960s. She popularized the miniskirt by wearing altered children's skirts and cropped her naturally brown hair short, often spraying it silver to mirror Warhol's own silvery appearance.
In an August 1965 Vogue photoshoot, Edie Sedgwick was photographed by Enzo Sellerio wearing only hosiery and a black ballet leotard, balancing atop a leather rhinoceros. Vogue anointed her an "It Girl" and a "Youthquaker." Sedgwick's mother disapproved of her modeling career and hoped she would return to sculpting and painting, which she had pursued before becoming a model. She also dismissed reports of Sedgwick's lavish fur collection as "utter nonsense", despite a New York Times account claiming she owned multiple mink coats and exotic furs. Later that year, Fred Eberstadt photographed Sedgwick for Life magazine's November 1965 pictorial, "The Girl with the Black Tights." Her cultural impact was underscored when artist Roy Lichtenstein and his wife dressed as Warhol and Sedgwick for a 1965 Halloween party. In 1966, Women's Wear Daily named Sedgwick one of New York's "fashion revolutionaries".
Later years (1966–1971)
Edie Sedgwick
When Sedgwick returned to California for the Christmas holidays in 1966, her parents put her in a psychiatric ward.
Sedgwick attempted to forge a legitimate acting career. She auditioned for Norman Mailer when his 1967 stage adaptation of his novel The Deer Park was being produced. But Mailer "turned her down ... She was very good in a sort of tortured and wholly sensitive way ...She used so much of herself with every line that we knew she'd be immolated after three performances."
In March 1967, Sedgwick began the shooting of Ciao! Manhattan, a semi-autobiographical underground film co-directed by John Palmer and David Weisman. Due to her rapidly deteriorating health from drug use, the film was suspended. After further hospitalizations for drug abuse and mental issues in 1968 and 1969, Sedgwick returned to her family's ranch in California to recuperate. In August 1969, she was hospitalized again in the psychiatric ward of the Santa Barbara Cottage Hospital after being arrested for drug offenses by local police. While in the hospital, Sedgwick met another patient, Michael Post, whom she married in July 1971.
Sedgwick was hospitalized again in the summer of 1970 but was let out under the supervision of a psychiatrist, two nurses and the live-in care of filmmaker John Palmer and his wife Janet. Determined to finish Ciao! Manhattan and have her story told, Sedgwick reconnected with the film crew and began shooting in Arcadia and Santa Barbara in late 1970. She also recorded audio tapes reflecting on her life story, accounts Weisman and Palmer incorporated into the film's dramatic arc. Filming completed in early 1971, and the film was released in February 1972.
Death
Edie Sedgwick
On the night of November 15, 1971, Sedgwick went to a fashion show at the Santa Barbara Museum that included a segment filmed for the television show An American Family. After the show, she attended a party where she drank alcohol. She then phoned her husband to pick her up. On the way home, Sedgwick expressed thoughts of uncertainty about their marriage. Before they both fell asleep, Post gave Sedgwick medication that had been prescribed for her. According to Post, Sedgwick started to fall asleep very quickly and her breathing was "bad – it sounded like there was a big hole in her lungs" but he attributed it to her heavy smoking habit and went to sleep.
When Post awoke the following morning at 7:30 a.m., he found Sedgwick dead. The coroner ruled her death as "undetermined/ accident/suicide". Her death certificate states the immediate cause was "probable acute barbiturate intoxication" due to ethanol intoxication. Sedgwick's alcohol level was registered at 0.17% and her barbiturate level was 0.48 mg%.
Sedgwick was not buried in her family's Sedgwick Pie cemetery plot but in the small Oak Hill Cemetery in Ballard, California.
Personal life
Edie Sedgwick
In 1965, Sedgwick began living at the Chelsea Hotel, where she became close to Bob Dylan. Dylan and his friends eventually convinced Sedgwick to sign up with Albert Grossman, Dylan's manager. According to Paul Morrissey, Sedgwick had developed a crush on Dylan that she thought he reciprocated. She was also under the impression that she and Dylan would star in a mainstream film together. Unbeknownst to Sedgwick, however, Dylan had secretly married his girlfriend Sara Lownds in November 1965. Morrissey claimed that Sedgwick was informed of the marriage by Warhol, who reportedly heard about it through his lawyer. Morrissey added that Dylan likely never had plans to star in a film with Sedgwick and "hadn't been very truthful."
Dylan has routinely denied that he had a romantic relationship with Sedgwick but did acknowledge knowing her. In 1985, he told Spin:
"I never had that much to do with Edie Sedgwick. I've seen where I have had, and read that I have had, but I don't remember Edie that well. I remember she was around, but I know other people who, as far as I know, might have been involved with Edie. ... I did know her, but I don't recall any type of relationship. If I did have one, I think I'd remember."
In December 2006, several weeks before the release of the controversial film Factory Girl, the Weinstein Company and the film's producers interviewed Sedgwick's older brother, Jonathan, who claimed that Sedgwick told him she had aborted a baby she claimed was Dylan's shortly after she was injured in a motorcycle accident. As a result of the accident, doctors consigned her to a mental hospital, where she was treated for drug addiction. No records from a hospital or the Sedgwick family exist to support this story. Nonetheless, Jonathan claimed, "Staff found she was pregnant but, fearing the baby had been damaged by her drug use and anorexia, forced her to have the abortion."
In 1966, Sedgwick became involved with Dylan's friend, folk singer Bob Neuwirth. During this time, she became increasingly dependent on barbiturates. In early 1967, unable to cope with Sedgwick's drug abuse and erratic behavior, Neuwirth broke off their relationship.
Sedgwick met Michael Post at a hospital in Santa Barbara. Post was also attempting to quit drugs. After their wedding on July 24, 1971, Post claims he helped her achieve sobriety. However, in October 1971, Sedgwick relapsed after taking prescription pain medication given to her for a physical illness, which in turn led to abusing barbiturates and alcohol.
In pop culture
Books
In 1982, Edie Sedgwick: An American Biography written by Jean Stein was published by Alfred A Knopf.
In 2022, Sedgwick's sister Alice Sedgwick Wohl released the book As It Turns Out: Thinking About Edie and Andy.
Film and theater
Sedgwick's life has been the subject of numerous unproduced projects and later portrayals in film and theater. In the 1980s, Warren Beatty acquired the rights to her life story and explored a film adaptation starring Molly Ringwald, but the project was never realized. Sedgwick has since appeared as a character or inspiration in several works. Jennifer Rubin portrayed her in Oliver Stone's The Doors (1991), while Amanda Peet's character in Igby Goes Down (2002) is described as an Edie Sedgwick-like. The 2004 off-Broadway play Andy & Edie produced by Peter Braunstein dramatized her relationship with Warhol.
In George Hickenlooper's film Factory Girl (2006), a fictionalized account of her life, Sedgwick was played by Sienna Miller alongside Guy Pearce as Warhol. Michael Post, Sedgwick's widower, appears as a taxi driver in one of the last scenes of the film. Michelle Williams portrayed a Sedgwick-inspired character in I'm Not There (2007).
Later tributes include the short film Edie: Girl on Fire (2010) by Melissa Painter and David Weisman, and the animated short Too Late (2021) by Polish artist Kinga Syrek, released to mark the 50th anniversary of her death.
Music
Sedgwick has been widely cited as an influence and subject in popular music across multiple decades. Critics have long speculated that Bob Dylan drew inspiration from Sedgwick in several songs, most notably his 1965 single "Like a Rolling Stone," as well as "Just Like a Woman," and "Leopard-Skin Pill-Box Hat" from his 1966 album Blonde on Blonde. Although Dylan never publicly confirmed these associations, the speculation has persisted due to Sedgwick's close proximity to Dylan during this period and the thematic parallels noted by commentators.
The Velvet Underground's "Femme Fatale," from the album The Velvet Underground & Nico (1967), was explicitly written about Sedgwick at Warhol's request. Throughout the 1980s and 1990s, Sedgwick's image and legacy continued to resonate in alternative and rock music. She appears on the cover of Dramarama's 1985 debut album Cinéma Vérité, while the band's video for "Anything, Anything (I'll Give You)" incorporates footage from Ciao! Manhattan. That same year, The Dream Academy released the single "The Love Parade" with the B-side "Girl in a Million (For Edie Sedgwick)." Sedgwick was referenced or memorialized in songs by Primal Scream ("Velocity Girl," 1986), Edie Brickell & New Bohemians ("Little Miss S.," 1988), James Ray and the Performance ("Edie Sedgwick," 1989), The Cult ("Edie (Ciao Baby)," 1989), and Deadbolt's "Edie" (1992).
Sedgwick's influence extended into the 21st century with additional tributes that include Tal Cohen-Shalev's "Factory Girl (Song for Edie Sedgwick)" (2009). Alizée's album Une Enfant du Siècle (2010) was inspired by her life, and Dean & Britta's 13 Most Beautiful: Songs for Andy Warhol's Screen Tests (2010) includes a song written to accompany Warhol's screen test of Sedgwick. The Pretty Reckless' "Factory Girl" (2010) is also based on her, with lead singer Taylor Momsen citing Sedgwick's style and boundary-pushing persona as an inspiration. Visual references to Sedgwick appear in Lady Gaga's music videos for "Applause" and "Marry the Night," while G-Eazy's 2014 song "Downtown Love" draws on her life story. More recently, Beach House cited Sedgwick's iconography as an influence on their 2018 album 7, particularly the track "Girl of the Year."
Filmography
Edie Sedgwick
<table><thead><tr><th>Year</th><th>Title</th><th>Role</th><th>Notes</th></tr></thead><tbody><tr><td>1965</td><td>Horse</td><td></td><td>Non-speaking role; first appearance in a Warhol film</td></tr><tr><td>1965</td><td>Vinyl</td><td></td><td>Non-speaking role</td></tr><tr><td>1965</td><td>Beauty No. 2</td><td></td><td></td></tr><tr><td>1965</td><td>Space</td><td></td><td></td></tr><tr><td>1965</td><td>Restaurant</td><td></td><td>Short</td></tr><tr><td>1965</td><td>Prison</td><td></td><td>alternative title: Girls in Prison</td></tr><tr><td>1965</td><td>Kitchen</td><td></td><td></td></tr><tr><td>1965</td><td>Afternoon</td><td></td><td></td></tr><tr><td>1965</td><td>Outer and Inner Space</td><td></td><td>Short</td></tr><tr><td>1965</td><td>Bitch</td><td></td><td></td></tr><tr><td>1965</td><td>Screen Test No. 1</td><td>Herself</td><td></td></tr><tr><td>1965</td><td>Screen Test No. 2</td><td>Herself</td><td></td></tr><tr><td>1965</td><td>Poor Little Rich Girl</td><td>Poor Little Rich Girl</td><td>Credited as Mazda Isphahan</td></tr><tr><td>1965</td><td>Factory Diaries</td><td></td><td></td></tr><tr><td>1966</td><td>Lupe</td><td>Lupe Vélez</td><td></td></tr><tr><td>1966</td><td>Face</td><td></td><td></td></tr><tr><td>1966</td><td>The Andy Warhol Story</td><td></td><td>final film with Warhol</td></tr><tr><td>1967</td><td>Four Stars</td><td></td><td>alternative title: The Four Star Movie; uses footage of Sedgwick from previous Warhol films</td></tr><tr><td>1969</td><td>Walden</td><td>Herself</td><td>alternative title: Diaries, Notes and Sketches</td></tr><tr><td>1972</td><td>Ciao! Manhattan</td><td>Susan Superstar</td><td>posthumously released</td></tr></tbody></table>