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shop. Violetta slipped back into her exaggerated French
and turned away from me to greet them.
Madame Gabori, I said, seeing that my significance
was quickly fading.
Oh, yes, excuse please, mesdames. She left the
room, closing the door behind her.
The women, who already wore cloches in the latest
fashion, walked from head to head admiring Madame s
work. When they came to me, the hatless, eccentrically
dressed girl with the mannequin s face, they stopped.
Goodness gracious, one of the women said. You re
the mannequin.
Not at all, I said, uncharitably. Someone has stolen
my face.
They were both staring at me rather unmannerly, I
thought. It was a good thing that Violetta returned and
held the door leading to the studio open for me.
Madame will see you now, Mademoiselle Brown. We
are sorry to have kept you waiting.
The studio consisted of a line of alcoves in which were
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set elegant little dressing tables with tall, three-way mir-
rors and stands of various sizes and design. Hand-held
mirrors lay facedown on the dressing tables. Hat trees
and seated mannequins, all with my face, were clustered
at the far end of the room like guests at a garden party.
My dear! Ilona Gabori, formidable in a dark blue
mohair costume I recognized as Chanel, greeted me as if
I were a long-lost protégé. You ve come for a hat at last.
I am joyful. She kissed me on both cheeks, and taking
my arm, pulled me toward the garden party. I see you
are wearing the shoes.
I came to ask you about Eppie Diamond, I said, al-
lowing her to remove my coat.
She frowned at my dress, trying to place it. Then nod-
ding, she said, Lanvin, I should say, but not from a re-
cent collection.
Why are all your mannequins wearing my face? I sat
down in the chair she indicated.
Ilona Gabori looked surprised. I chose from the dif-
ferent styles. You have a face for our time, and for hats.
Like this one. She fitted a cloche on my head and
smoothed my hair under so that just the tips of red
showed on either side, pointing toward my mouth.
But I did not give my permission to have my face
used on mannequins.
Ah, so . . . She handed me a mirror and stepped
back. See how you have the look for my hats. Such a
long, lovely neck. A sensual mouth. You will wear it, of
course.
I admired myself in the mirror. You re very nice,
Madame, but I cannot afford your hats. Reluctantly, I
reached up to remove it.
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Annette Meyers
But she stopped my hand. No, no. It is my gift to
you.
I accept, but only if you ll answer my questions about
Eppie Diamond and tell me who sold you the man-
nequins.
My next clients are waiting, but I will tell you
quickly. The mannequins I get from Glaser on Fourteenth
Street. She helped me on with my coat. What do you
want to know about Eppie Diamond?
Her son.
She had no son. She had no children.
Then who is Andrew Goren? Perhaps her husband
had a son from a previous marriage?
Sol Goren had no children. He and Eppie were mar-
ried very young. He died ten years ago. Who is this An-
drew Goren you ask me about?
He calls himself Andrew Goren. I don t know who he
is.
Is he young and handsome?
Yes.
Eppie had a . . . an interest in young men. They
tended to take advantage of her . . . generosity.
Violetta opened the door. Are we ready, Madame?
Yes, yes, indeed. Violetta, will you see Mademoiselle
Brown out?
* * *
I walked westward, aware that the hat had transformed
me from an eccentric to an original, in fashion terms.
Heads did turn as I walked.
Glaser on Fourteenth Street, Ilona Gabori had said. I
had the distinct feeling that I should know it.
At Seventh Avenue, as I was about to get on the sub-
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way to Eppie Diamond s to meet Mr. Colangelo, it came
to me.
Bennett Newman lived on Fourteenth Street. And the
building he lived in was owned by Glaser Family Print-
ers. Wasn t it possible that Glaser Family Printers also
made mannequins? Couldn t they be the Glaser Company
that Ilona Gabori had mentioned?
It went like this: Bennett Newman lived in a flat over
Glaser Family Printers. Someone had painted my face on
their mannequins. Bennett made his living as a graphic
artist. It was basic arithmetic. Two and two are four. Ergo,
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