Thursday 3rd November 2016
Angus Willis kindly hand delivered a tureen I’d bought at Angus Willis Home Store Hastings largely because it did not appear to be on sale. He stayed on to dine in my home with Fergus Strachan and Merle Barr (formerly Head of Children). This was some weeks ago. They said my desk in the back drawing room is too big; I should get another. Merle remarked that here were fewer piles of books and papers in the drawing room than usual. The carefully styled drying racks at the bottom of the stairs were also looked upon darkly. ‘Always washing here,’ Merle barked. A few days before Angus Willis had said there was nowhere to put anything down in my drawing room.
I didn’t like to mention that I spend six hours a day working on the home in various ways. But not many these days understand the antique style with knick-knacks.
I will drag on relentlessly in the never-ending uphill struggle towards decor. Just now I’m on a buying trip – more antiques. Come back later for more. I’ve gone to Cheltenham to look at a stool.
The next day, Joshua Baring suddenly was available at 50 minutes’ notice to see ‘The First Monday in May’ which was only to be seen in one cinema at 11 a.m. on a limited number of days. He’d been betrayed beyond belief by Virgin Trains – their website gave one price for a ticket but wasn’t working. The tele-sales price was a lot more. A fruitless hour on the phone. Not the weight of the Barings nor the Rothschilds could collapse the Virgin Trains Call-Centre. So he was refusing to board for his country home at Sandringham St Kil.
‘The First Monday in May’ – do you know it? It’s a documentary film about putting on the Annual Fashion show at the Metropolitan Museum of Art in New York, for the year in question, ‘China Through the Looking-Glass’. Fashion is now art, you see, and put on in museums. Well, we didn’t agree with that. Nor with the outfits of the Met Head of Costume Department, who is an English Gay. As Head of Costume Department, you can’t not be in fashion the entire time. I couldn’t think what had happened to his frockage – it was a crippled Prep School look, shrink-washed, skew-wiff, trousers both at half-mast and hitched to the arm-pits, jackettes (well, so great) but kind of square and flappy. Huge slip-on shoes, no socks. He wasn’t able to walk much at all. Then it emerged that Thom Browne is his ‘partner’. Do you know Thom Browne? He is an American fashion designer, madly expensive, who only does men’s school clothes into which he had evidently inserted the Head of Costume to absolutely devastating effect. I’ve seen the wear on sale at Harrods but never on. I had no ideah it was so shattering.
Anna Wintour on the other hand – she was the other main person because Vogue were central to the Show, and she was doing the placement for the Gala dinner on the First Monday in May – which is the only day each year when the Met closes.
‘We need to find someone better to sit next to Harvey Weinstein,’ she said. Later she peered again at the massively complex placement board where all the names were on pieces of paper so they could be moved about. ‘Who are these people?’ she enquired of some who had no place and were pinned to the side of the board. ‘I’m hoping they’ll go away,’ the assistant said. ‘Troublemakers,’ Anna said. She then engaged in decisive re-placement of certain other individuals, who might have been George Clooney or Rhianna herself. All her actions are gracious, particularly her Smart Phone work. She is never crouched.
Actually Anna is a miracle: she is hardly a person. I don’t know how she does it. At times she was beached, as when seen sitting on a banquette (she could just have been a little tired, but there was no way of really knowing for sure), quite alone, in the entrance hall of the Met (just like any member of the public) consulting her phone – which she did a lot. But frocked, frocked beyond belief, embroidered, trimmed and hung with necklaces. Really it’s the same frock – little short sleeves, straight down, very fitted – but never, never simple. She can also just about walk to her car: her heels are spikes. Afterwards you struggle to recall what she said. Because really she barely speaks. ‘It fits,’ she said, when her daughter was trying on her ballgown. ‘It fits.’ That was it, but it sounds such a massive thing that Anna Wintour said it fitted.
Of course she would never lose her temper. That would be giving too much away. ‘What is that?’ she said, of a wall-installation that looked like some kind of digital representation of a fish tank in the new Vogue offices . ‘It makes me ill. Take it away. ‘ ‘Well,’ said the whippy little Gay, a version of whom was forever at her side, ‘maybe stop it moving so much.’ She didn’t make any further contribution.
She is a state of being. Her greatness is all the things she is not: busy, doing washing up, various as to mood, expressive, fired up; it’s the marvellous minimal evenness. You try it!
All the Gays loved her. That’s how the film ended. The Gay graphic person at Vogue was saying, ‘I’ve got the same brain as AW. I knew it. I knew it..’ She’d chosen the cover he’d thought she’d chose, you see. She had one of the dresses on, in blue. She peered at the selection of covers, but the one she wanted she peered at a little more. That was it. An absolute absence of agony or indeed volume, as she selected.
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