Indochine is a restaurant that recurs briefly in Andy Warhol’s diary as a destination for meetings and dinners. The entries attach it to two different social settings: a late-night rendezvous after a concert in 1986, and a dinner with the ballet circle in early 1987. They offer no description of its interior or neighborhood; its significance in the account comes from the people who gather there and the relationships revealed around the table.

A Late-Night Meeting

On September 13, 1986, Warhol left Elton John’s concert at Madison Square Garden at 10 p.m., while the performance was still going strong, because he had arranged to meet Wilfredo at Indochine. The diary records the sharp transition from spectacle to appointment: throughout the concert, people had approached Warhol for autographs, but he left before the show ended to keep the meeting. Indochine enters the account as the next stop in an evening shaped by both public recognition and private social plans.

Dinner with the Ballet Circle

On January 4, 1987, the ballet group wanted to take Warhol to dinner at Indochine, and Paige picked him up. Stephen Sprouse was there, along with members of the group; Peter Martins was the only one Warhol noted as absent. Warhol described the gathering as a wonderful group that had everything down, emphasizing its cohesion rather than the restaurant itself.

The dinner also became a setting for a story about Sprouse’s work on ballet costumes. Heather Watts said that she had once considered him passive, but changed her mind after he stood by his choice of dress when she objected. She valued his decisiveness, and Warhol noted that she now wanted to marry him—another woman, in his playful phrasing, pursuing Sprouse. Heather paid for the dinner. These details give the restaurant’s second appearance a social texture: a shared meal becomes the occasion for discussing creative authority, attraction, and the ballet circle’s close-knit life.

Place in the Diary

The two entries present Indochine less as a described landmark than as a point of connection in Warhol’s schedule. In 1986, it is where he heads after leaving a major concert; in 1987, it hosts a group dinner that brings together Paige, Sprouse, and the ballet circle. Across these brief appearances, the restaurant links Warhol’s movement between entertainment, work, and social life without becoming the focus of the account itself.