Chapter 4 - THE HALCYON INSTITUTE
The Halcyon Institute for Costume and Design was fictional? No. In our world, it was a private nonprofit museum and study center in Manhattan.
Camilla had wanted its fashion council chair for years.
Not because the role carried enormous authority.
Because it carried prestige.
Exhibitions.
Donor dinners.
International fashion-week events.
Access to designers and collectors.
The council did not govern museum assets.
It advised.
Raised money.
Helped arrange loans.
Camilla had served three years.
A vice-chair appointment was likely.
Then Halcyon planned an exhibition titled:
THE PRIVATE SHOE: AMERICAN COLLECTORS AND PERSONAL STYLE.
Camilla offered pieces from her own collection.
Thirty pairs.
The curator liked them.
Then she saw photographs of Eleanor’s archive during a dinner at Villa Virelli.
Apparently she became fascinated.
Eleanor had collected with discipline rather than brand obsession.
Several pieces filled gaps in the exhibition.
The curator asked me casually:
“Would Lila’s trust consider a loan?”
I said:
“Possibly. Talk to the trustee.”
That was all.
Camilla heard something else.
Opportunity.
If the Eleanor pieces joined Camilla’s own loans, the collection could become the exhibition’s anchor.
A major donor catalogue.
Press.
Opening gala.
Then someone at Halcyon began calling it:
The Drayton-Virelli Archive.
I corrected them once.
“Two collections.”
Camilla laughed.
May you like
“Temporary shorthand.”
I should have paid attention.
