“I can honestly say that I shouldn’t enjoy it if we did, strange as it is to hear myself say that. I might be able to summon up some enthusiasm for the place if, say, you were to tell me that the Duke of Wellington was there, waiting to greet us. The first Duke, mind. Otherwise, I have no wish to take the chance of embarrassing myself by passing out cold in the Piccadilly Drawing Room. Not that I’d actually be able to climb the stairs to the first floor.” So me and myself sat reading for a bit longer whilst we finished our coffee, people watching from the comfort of my chair. At last, I dragged my way out of the churchyard and along Piccadilly, sparing not a glance at the glorious window displays at Fortnums nor the merest peek at the Burlington Arcade. My eyes were fixed upon the Green Park tube station as I prayed I had enough gas left to find my way back to Sloane Square.
If I got out at Victoria Station, I’d be able to secure myself some Coke and so be able to make myself a rum and same once back in our hotel room. However, that would entail my climbing many steps out of the tube, through the Station proper to the nearest shop and then doing it all in reverse order to board the train again. It was simply beyond me. Besides, I honestly felt myself too tired to be bothered with drinking the demon rum. The situation was dire, indeed.
Thank God (and I say that sincerely) our room was ready by the time I returned to the hotel. I carried the bag with my laptop in it to the room myself, leaving Big read and my other bag for the staff to bring up.
It must be said that I’ve stolen the photo above off the internet and this is not exactly what our room looked like – we had twin beds, but the rest is fairly spot on. We had a window just like this one, overlooking Sloane Square. I got out my book, pulled off my boots and sank gratefully onto the bed. Then I sat bolt upright. I had two hours before Victoria arrived at the hotel. If I lay on the bed, I would surely fall asleep. I could have sworn that I’d slept on the flight over to England, but you couldn’t have proven it by me. I felt exhausted. If I fell asleep now, I’d be out like a light. And up again in just two hours. I’d only feel worse by the time Victoria arrived. Oh, how the two of us had looked forward to our meeting – finally – in Sloane Square. I couldn’t screw this up. I had to be awake, at the very least. So I pulled the desk chair over to the window and sat bolt upright upon it. Then I began to giggle. I was sitting in a London bow window, surveying the scene before me a la Brummell, my feet sore, my body beyond tired and my mind, obviously, deranged. I definitely should have stopped for Coke. I already had the rum. I’d packed a bottle of it in my suitcase. Which, come to think of it, may have gone some way towards the overage in the weight of my luggage.
Reader, you’ll understand that as far as I was concerned, Victoria couldn’t arrive soon enough.
Part Three Coming Soon!
High above the Seine in Normandy stands the ruins of a fortress built in 1196 by Richard the Lionheart, aka King Richard I of England and Duke of Normandy (1157-1199), Chateau Gailliard.
Eventually we managed to reach the summit, breathless from the climb and from the fantastic view of the river below. This fortress was designed to be siege-proof and was amazingly expensive. According to Wikipedia’s entry on Richard I, it cost £15,000 to £20,000 in 1196-1198.
With the reopening of The Costume Institute space in May as the Anna Wintour Costume Center, the department returns to mounting two special exhibitions a year, once again including a fall show, in addition to the major spring exhibition. This is the first fall exhibition The Costume Institute has organized since blog.mode: addressing fashion in 2007.
“The predominantly black palette of mourning dramatizes the evolution of period silhouettes and the increasing absorption of fashion ideals into this most codified of etiquettes,” said Harold Koda, Curator in Charge of The Costume Institute, who is curating the exhibition with Jessica Regan, Assistant Curator. “The veiled widow could elicit sympathy as well as predatory male advances. As a woman of sexual experience without marital constraints, she was often imagined as a potential threat to the social order.”
Exhibition Overview
The thematic exhibition is organized chronologically and features mourning dress from 1815 to 1915, primarily from The Costume Institute’s collection. The calendar of bereavement’s evolution and cultural implications are illuminated through women’s clothing and accessories, showing the progression of appropriate fabrics from mourning crape to corded silks, and the later introduction of color with shades of gray and mauve.
“Elaborate standards of mourning set by royalty spread across class lines via fashion magazines,” said Ms. Regan, “and the prescribed clothing was readily available for purchase through mourning ‘warehouses’ that proliferated in European and American cities by mid-century.”
The Anna Wintour Costume Center’s Carl and Iris Barrel Apfel Gallery orients visitors to the exhibition with fashion plates, jewelry, and accessories. The main Lizzie and Jonathan Tisch Gallery illustrates the evolution of mourning wear through high fashion silhouettes and includes mourning gowns worn by Queen Victoria and Queen Alexandra. Examples of restrained simplicity are shown alongside those with ostentatious ornamentation. The predominantly black clothes are set off within a stark white space amplified with historic photographs and daguerreotypes.
Related Programs
In conjunction with the exhibition, a Halloween event on October 31, 6:30–8:30 p.m., will encourage visitors to chart their own path through the galleries and join drop-in,
interactive experiences with art. Ms. Regan will give a Friday Focus lecture, Women in Black: Fashioning Mourning in the 19th Century, on Friday, November 21, at 4:00 p.m. Musical programming includes a special pop-up concert featuring Icelandic cellist Hildur Guðnadóttir on October 17 at 6:00 p.m., and a performance by vocalist Theo Bleckmann on February 7 at 7:00 p.m.