Stephen Graff

We had people wanting to see the Christian Dior mannequins, wanting to see the Coco Chanel mannequins, of which there are none.

Only anecdotally.

And only one instance.

I know a native artist who is a fashion designer.

And he was here three years ago because he is interested in creating fashions in miniature.

Because, you know, he's making bespoke clothing and it gets worn once on the runway and then it's a lot of effort.

I haven't emailed her since last week.

Okay.

We hear from her from time to time.

So, true confession, the podcast you did with Linda about Tatra Delamode and Susan Traynor, that's the only podcast I've ever listened to in my life.

And that will provide then the context for what I'm going to say next.

I'm old enough that...

My father's entire generation was World War II vets.

My dad, my uncle, their cousins, they were all in the service during the war.

And so this is a historical continuum that doesn't seem that far away to me, even though it's 80 years.

I think what it says is something really profound about humanity and the depths of both creativity and hope that are available to people.

And I'm not saying that there isn't, of course, a lot of trauma written into the text, but it doesn't have to be solely trauma.