“Watching my wife take off her clothes could be disappointing; on the other hand, watching her put them back on is exciting; and then we have to take them off again, which, as I said, could be disappointing.” This cycle of redundancy lays theoretical foundation for the new exhibit at Musée d’Orsay: Dressing a woman is an art that is completely integrated in the creation of the concept of the feminine. Yet when we look at the poster at the entrance, those of us who know nothing about the world of fashion may raise their eyebrows: Shouldn’t the fashions come with the modifier women’s? I don’t know. Men’s fashions have been stuck for the last two hundred years and nothing made it more obvious than that puny male section of the exhibition; so, perhaps we should keep it the way it is — changing the name would only rub it in.
Useless to say that taking pictures at the event is verboten; but it is equally useless to say that cellphone has long transformed itself into a virtual extension of a human hand; so why do they even bother? I am showing you here what in my opinion is the acme of the exhibition — the painting of Albert Bartholomé, In the Green House, hanging next to the painter’s wife’s dress! Sure, sure, it gets a little melodramatic. How would the dress survive otherwise? Albert paints his beloved Périe for the Salon of 1881 and six years later, she dies; so, disconsolate husband holds on to the dress.
Female fashions! What a Pandora box! If only other industries did not aspire to the same status! Unfortunately every car manufacturer is an Yves Saint Laurent wanna-be. I have to stop here, for from this point on, it is all downhill — too much of Parisian complacency for my taste; for example, in this section you could read on the wall, “Parisian is a woman; so much so; that she is more woman than any other woman.” Alright, I do see some interesting girls in Paris; but they are not the only interesting girls in all of the world; and regardless of mine or my reader’s commitments, I say, let us not forget the healthy Hegelian maxim that quantity has the quality of its own.