museums

Perak Museum, Taiping | Malaysia

Taiping is not a place worth visiting, in my opinion; one of its few somewhat redeeming sites is the Perak museum, Malaysia’s first and oldest museum. Founded in 1883 by Sir Hugh Low, its initial focus was natural history; particularly zoology, geology, botany, and ethnology. The big-statue-of-a-white-man-needlessly-relocated-to-a-disrespectfully-insignificant-corner (a cliché in resentful former European colonies) is not Low, however; nor is it Sir Frank Swettenham, the majority fundraiser for the museum and arguably the most eminent Brit in colonial Malaysia (Resident of Perak 1889-1895, Resident-General of the Federated Malay States 1896-1901, Governor and Commander-in-Chief of the Straits Settlements 1901-1904). Rather, it is Robert Sandilands Frowd Walker, curiously bylined on wikipedia as a ‘football player,’ despite his very successful 30+ year career in the British colonial army.

Walker attended Sandhurst; served in Gibraltar, Malta, Hong Kong, Singapore, and accompanied his superior for the investiture of King Chulalongkorn in the Order of St. Michael and St. George, all before landing in Perak; molded Perak’s police force for over 20+ years to a high military standard, keeping relative peace among the Chinese gangs during the mining boom; and eventually rose to Resident of both Selangor and Perak. When crime was low, he put his police force to work building out the Taiping Lake Gardens; he also raised enough funds to ensure a clergyman always presided over the local All Saints’ Church. He was a Fellow of the Royal Geographical Society, the Royal Zoological Society, the Royal Colonial Society and the Royal Colonial Institute. He commanded the dismounted colonial troops at Queen Victoria's Diamond Jubilee in 1897, and laid the foundation stone of the Diamond Jubilee Wadda Gurdwara Sahib at Penang. His nickname among local Malays was “the black panther”; Chinese feared his Perak Armed Police Force of “Sikh devils”; fellow Brits described him as "at the best of times very much a martinet" and "a difficult man to work with.” . . . . yet, above all, he is apparently remembered for scoring the winning goal of an England/Scotland match at 21, and introducing cricket and football to the locals in the areas he governed.

Though it’s not much of a present-day practice, this museum is still where taxidermy is taught and practiced in Malaysia. Considered a target unworthy of bombing in WWII, galleries upon galleries of dryrotted and peeling creatures of all types, many now endangered and some extinct, most preserved by Low and his team 150 years ago, remain. I only took a few photos because I find them macabre (and their circa 1990s or early 2000s photo mural backgrounds tacky) but these make up the majority of the museum.

Doubtless to my discredit, I find the artifacts of local material culture much more beautiful and interesting. There is impressive metal and enamelwork, century old Chinese wedding robes with incredible embroidery, vintage and antique Malay gold-wrapped thread embroidered red velvets, songket and other traditional fabrics.

There are also some artifacts from the Negrito native people, mainly basketry but some masks and other objects.

Finally, there’s a very small library, which consists mostly of books in English (though there are some in other European languages) dating from the colonial era, clearly left behind by the Brits. The most recent items are science periodicals for children from perhaps 30 years ago. Hours are posted on the door, yet when I entered there was no worker present and all the bookcases were locked up. Within perhaps five minutes, a woman entered in a huff (obviously alerted to my presence by some security guard) and announced that the library was by appointment only and I was not permitted to look at or touch anything. That’s not what the sign says, not what the website says, and I have found no proof anywhere that this is true.

I asked if there was a collection catalog to peruse in advance of making an appointment; she claimed there was not. I asked if the books had been digitized and published online . . . they have not. Perhaps she has other responsibilities, but it very much seems the negligent oversight of her superiors has allowed her to reduce her job to sitting around on her phone in silence, and she’s come to expect so few visitors that she prefers to do so in the air conditioned employee cafeteria rather than the library itself, which they don’t bother to cool.

Outside, there are vintage luxury cars that I guess were purchased for heads of state at some point. There are also examples of early public transportation, including small buses and railcars.

Across the street is the water company office, still in its the original wooden building.

Beyond the museum, one can see the green-shuttered colonial jail, which I was shocked to find is still in use, hence the oddly covered-up fence.

A fifteen minute walk down the street reveals this was the main drag of the colonial era; All Saints’ Church and the Officer’s Club are easily reachable by foot (despite them not bothering to build sidewalks), and a couple other closed up colonial buildings are along the way.

Thalang National Museum, Phuket | Thailand

I’d describe this museum as small but mighty. It only takes an hour to see absolutely everything. It’s empty and the employees are bored so odds are high you’ll get a private tour of at least one room. Well worth the cab fare, which was about $8 usd from Phuket town.

9th CE Vishnu from Khao Phranarai

9th CE Bhudevi from Khao Phranarai

8th-9th CE clay seals from Tham Kao Nui

8th-9th CE clay seal from Tham Kao Nui

Vegetarian Festival costume representing God Lim-Hu-Ong-Lah, worn by Mr. Chalermphol Khlong-ngam, a spirit medium at Tha Rua Shrine.

Ho Chi Minh Port Museum (Nha Rong Dragon Wharf) | HCMC, Vietnam

Before I say anything about Ho Chi Minh, I'd like to issue a disclaimer: I find him fascinating as a person and possessing of many superior intellectual and moral attributes. I've read Ho Chi Minh Thought and the Revolutionary Path of Viet Nam by General Vo Nguyen Giap. I've been to his mausoleum, childhood home, revolutionary office, and a pile of other sites dedicated to him. That said, perhaps culturally, definitely personally, I can't abide the dear leader mentality, no matter to whom it's applied.

The Ho Chi Minh Port Museum (otherwise known as Nha Rong or the Dragon Wharf), is just another Ho Chi Minh museum, which you can find in any (and every) large or midsize city in Vietnam. It's got a few personal effects, a couple pamphlets, and seems to exist solely to inculcate schoolchildren. to my mind, it's a waste of a good building; on the other hand, at least crowding and overdevelopment has been staved off around it, which is more than can generally be expected in Saigon. the entire Ba Son port area, with umpteen untouched architecturally and historically significant 1880s and earlier French buildings, was sold to a residential property developer in 2015 to build more quote-unquote luxury highrises, so the Ho Chi Minh connection is indeed the sole reason the building survives at all.

The building itself dates from 1860, though the site has operated as a mercantile port since at least the 1610s. 45 nautical miles from the sea, the port was never able to effectively compete with Hong Kong, Singapore, and Jakarta, but was so well-established in terms of infrastructure and renown that the French decided not to bother moving it. From 1861 to 1901 the wharf was operated by Messageries Maritimes, and in June 1911 Ho Chi Minh doubtless processed through the building as a kitchen worker on a steamer destined for Marseille. The area has not been landfilled at all, so the shape of the river here looks the same as it does in photographs from 150 years ago. The view is nice, and the grounds are nice. It is not a must, in my opinion, but it is a quick visit.

FITO Museum of Traditional Vietnamese Medicine | HCMC, Vietnam

The Museum of Traditional Vietnamese Medicine (FITO) in Ho Chi Minh City is a privately owned museum detailing the development of Vietnamese herbal medicine, also known as Southern medicine, as a distinct tradition from Northern, or traditional Chinese, medicine. It also covers related traditional therapies like acupuncture, medicinal wine and footbaths.

Vietnamese traditional medicine differs from Chinese traditional medicine in that it uses far fewer animal products, relatively more fresh than dried herbs, generally less complicated decoctions, and there have been a series of famous Vietnamese doctors over hundreds of years establishing recipes different from those used in China and other neighboring regions. 

That said, Vietnamese traditional medicine originates from southern Chinese practices, and is far closer to Chinese traditional medicine than Indian traditional medicine in every way, unlike neighboring Cambodia and Thailand. Furthermore, Ho Chi Minh City specifically has a distinctly Chinese element to its culture thanks to centuries of Chinese immigration, intermarriage, and economic dominance in Cholon. So, the traditional medicine utilized here today is yet another degree closer to what might be encountered in southern China.

I’ve already covered the topic of TVM in some depth in my post about the traditional medicine museum in Hoi An, so please refer to that post for more information. I would say the subject is explored in greater depth at the FITO museum, but either place has more information than anyone not interested in medical history or personal treatment could ever care to know.

If you can’t tell, I’m not a believer in traditional medicine! However, I still think this museum is a must-see in HCMC- not because of its explanation of TVM, but because it is in fact an art history museum! The building is new construction, but a complex marriage of salvaged antique architectural and ornamental elements and necessarily new elements, handmade in the traditional way with traditional materials. There are countless priceless artworks, antiques, and artifacts, on display throughout, dating as far back as prehistory, and including Chinese, Thai, Korean, Cham and Khmer pieces in addition to the purely Vietnamese. All are arranged with care in as close to the traditional manner as possible; many examples are equal to or better than what they have in Vietnam’s national art museums. This is clearly the lifetime collection of a connoisseur.

My photos simply don’t do the place justice, due mostly to an overabundance of green toned fluorescent tube lights and very warm-toned, high wattage, small spotlights throughout that frustrated the color correction software of my iPhone; the video gives a more realistic impression.

Whoever assembled this place clearly has extensive knowledge of Vietnamese art and architectural history, a refined eye, and no budgetary concerns. Even the elevator is adorned with custom-carved, mother-of-pearl encrusted panels in the style of traditional room screens and cabinets. The collection here has clearly been thoughtfully assembled over decades, and the most I could get out of the guide was that it was ‘a hobby’. He was able to answer questions about specific pieces, but I found myself reading the various labels hoping to learn more about the age and provenance of the object, not what it depicted about traditional medicine. Spoiler: those details were usually not provided. 

I found this place so intriguing I visited twice. I think for decorative arts buffs, this is the most underrated hidden gem in Ho Chi Minh City. Also, while I typically decline the tea/avoid the shop, I tried it here in a moment of literal, physical weakness, and was very pleasantly surprised. The lotus and licorice tea is very sweet and warm and cost only 50,000 dong for a box of 20 teabags, very reasonable for the quality.

The History Museum and Hung King Temple, HCMC | Vietnam

After fruitless hours searching for the elusive “Mr. Rivera”, the supposed French architect of the Hui Bon Hoa complex, I was surprised to find the life and career of Auguste Delaval, architect of the HCMC History Museum, so thoroughly attested and accessible. His many prize-winning watercolors and gouaches of Indochina are held in his hometown museum in Hennebont, France; scans of his transcript at the École des Beaux-Arts are a simple google search away.

The History Museum and the Museum of Cham Sculpture in Da Nang are the two buildings outside France that Delaval remains known for today; the history museum, built between 1926 and 1929, is undoubtedly his best extant building. He was among the clique of architects typically competing for Indochinese colonial commissions, including Vildieu, Moncet, Bussy, and Hébrard. He submitted designs for lots of institutional jobs he didn’t get; the Dalat train station, for example, went to Moncet. Each firm had a side business in privately owned luxury villas, since they knew how to build in Indochina; most of the current non-French, non-original owners of these buildings have no idea who their architect was.

Incidentally, I think that’s what happening with the Hui-Bon-Hoa property: Given their differing styles, I think each building was actually built by a different architect, perhaps even from old or previously incomplete plans. For example, I can’t find any Beaux-Arts graduate named Rivera, but the first building constructed (originally the company office, currently the building on the left when you walk through the gate) looks like the work of Gustave Rives, the go-to man for classy Parisian apartment buildings, museums, and townhouses at the time of Hui Bon Hua senior’s death in 1901. If I was the richest man in Saigon, a rental real estate magnate, and a naturalized French citizen, that’s certainly who I would choose.

But back to Delaval and the history museum! It was his last institutional building in Indochina; he designed both the main museum building and the adjacent Hung King temple. If it seems odd to you that a Frenchman would be tasked with designing a Hung King temple, you are right: it was originally the Temple du Souvenir Annamite, built to honor the 12000+ Indochinese colonial troops who gave their lives for France in World War 1. It was paid for by public subscription of wealthy Vietnamese, but rededicated nonetheless after the French withdrawal from Vietnam in 1955 (a tasteless act of erasure, in my opinion). The bronze elephant in the adjoining garden has nothing to do with the zoo next door; it was a gift made in 1930 by the Thai King Rama VII to symbolize the troops never being forgotten.

The museum itself is a jewel box. Though the façade is grand, the museum is small, and the interior of the building has an intimate quality; the rooms aren’t overly large, but have very high ceilings with overhead windows or vents. The museum covers the entire history of Vietnam, from prehistory to the current era. It has only a few examples pertaining to each important theme or period, but each example is the absolute best. I was particularly impressed by the quality of the Buddhist relics, ethnic costumes, and Cham and Óc Eo sculptures. It also inexplicably houses an ancient mummy and a second-rate collection of antiques left by a local collector and prolific author on the topic.

As for the temple, it’s been locked for two years now due to Covid; my videos are peeking through the door slats. I was impressed by how totally authentic the materials, construction, and decorative workmanship are: undoubtedly made for and by Vietnamese people. The mark of the French architect is solely in the proportions: it is a cube rather than a long, low, building, with lots of daylight coming in through openwork friezes just below the roof. Relative to old, totally Vietnamese temples, it feels very tall and flat; the columns are more slender, the carvings more shallow.

The proportions and decorative motifs remind me strongly of Emperor Khải Định‘s tomb in Huế, which began construction in 1925 and finished in 1931, concurrent with the museum. It’s quite possible Delaval had an unacknowledged hand in that tomb’s architecture: thought it’s current Vietnamese practice to deny credit to French architects and artisans wherever possible, the tomb is widely admitted to be inspired by the Emperor’s visit to the 1922 Colonial Exhibition in Marseilles, at which Delaval’s scale model of Angkor Wat was the star exhibit. Delaval also had many watercolors of Indochinese architecture, both native and colonial, shown there; he was commissioned by the French colonial government to design this history museum and adjoining (now destroyed) art galleries as a result. It’s not too much of a stretch to think the Francophile emperor hired him to design or collaborate on his biggest commission as well.

If you wish to plan your trip on a tight schedule, the museum website is rather detailed and helpful. However, it shouldn’t take more than two hours to thoroughly review the entire collection. I recommend visiting the museum in the morning before your attention wanes, and visiting the zoo afterwards. Also, be prepared to feel a bit miserable: there is no air conditioning, there are lots of mosquitoes, and the adjoining cafe is cash-only and allows smoking. Admission costs less than $2.

Ho Chi Minh City Museum of Fine Arts | HCMC, Vietnam

Huang Wen Hua 黃文華 was born in 1845 in Fujian province, China. He moved to Vietnam at the age of 18, following the 1860 Treaty of Peking, which allowed Chinese citizens to seek employment overseas. By the time he moved in 1863, Vietnam was freshly colonized by the French and consequently seen as full of business opportunities and relatively safe for Chinese immigrants.

The French privileged these Chinese immigrants over native Vietnamese within their corvee system; between 1870 and 1890 over 20,000 Chinese (mostly single men) moved to Cholon alone, creating the largest Chinatown in the world at that time. In just one generation, a merchant class of wealthy, pro-French, relatively unassimilated Sino-Vietnamese elites was created that held economic control of the south until reunification in 1975.

Huang first changed his name to the rather more Vietnamese Huỳnh Văn Hua, but soon realized it would behoove him to convert to Catholicism and use a French baptismal name. He finally ended as Jean-Baptiste Hui Bon Hoa; Hui Bon Hoa being not only an approximate transliteration of his name as pronounced in his native Hokkien dialect, but homophonous for the French “oui, bon Hoa”. His name taken as a whole, in English, reads: John the Baptist yes good Hoa (Hoa meaning people of Sino-Vietnamese descent).

He became the richest man in Saigon during his lifetime, but still visited China frequently, passing away there suddenly in 1901. He built his business from a single pawnshop opened in partnership with a former French employer to a property development empire; he was known to have owned 30,000 shophouses, as well as hotels, banks, hospitals, etc. His unrealized dream was to build the grandest villa in Saigon, a French style mansion large enough for all of his children and grandchildren to live together. In 1929, his three sons decided to start building the dream; before it was completed in 1934 two of them had also passed away.

Over time, successive generations were educated overseas and emigrated. These descendants still live in France and America today, using Hui-Bon-Hua as their surname. By 1967, the house was seized by the South Vietnamese government. All members of the Hui-Bon-Hua family left before the end of the Vietnam war, and in 1987 the three buildings were officially “donated” for use as an art museum, which opened in 1992.

The art here is solely Vietnamese. There are the requisite displays of Cham and Óc Eo artifacts, plus traditional Vietnamese styles like monumental lacquer paintings and paintings on silk. The most famous artists in Vietnam are shown here, as well as artists in the Vietnamese diaspora. I have zero knowledge of Vietnamese art or artists, and found the works of Lê Thị Kim Bạch, Trần Việt Sơn, Huỳnh Quốc Trọng, and Nguyễn Minh Quân compelling.

As in Hanoi there are umpteen war pictures, yet not a single one depicts an ARVN flag, despite this being the South. Money is too new in Vietnam for there to be any grand patrons of the arts just yet . . . if there are any Picassos or Chenghua porcelains in Vietnam, they are in private homes.

The museum doesn’t take more than a day to explore fully. I wish there was an onsite cafe, but I survived. I’d also advise against buying anything on nearby Antique Street, it’s all fake. If you want to buy an authentic work, there’s a selection of antique porcelain and some lithographs and watercolors in the museum’s ground floor gallery. They also have the best selection of books on Vietnamese art and artists that I’ve come across.

Etro's Paisley Inspiration at the Cooper Hewitt

Recently the Cooper Hewitt Design Museum in New York City put up an interesting exhibit of the historic textiles that inspired Veronica Etro’s Spring/Summer 2018 Tree of Life collection.

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While I’ve owned the odd piece (a hair turban, a bikini, a silk chiffon scarf, a pair of velvet flats . . . ) I’ve never been fully at home with Etro.

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On one hand I so enjoy the school of fashion design they embody: multigenerational Italian family business; super-luxe textiles; intense and intricate details and trim, always. Though the company was founded in the 60s and sourced its signature swirling paisley in India, it very much gives me those Renaissance Venetian trade goods vibes.

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The Etro DNA that doesn’t flatter me personally includes the palette (olive, mustard, merlot and lime always reappear), and the tendency of the garments to “wear me”. For those reasons, it’s much easier for me to incorporate the Etro home collection into my life than the womenswear.

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To be clear, these are not criticisms! Etro is beautifully designed and produced, and perfectly focused for a specific woman, I’m just not the Etro woman in terms of coloring/personality.

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I still enjoyed the exhibit, which showed how artifacts in the Etro archive directly influenced the silhouettes, prints and embellishments in the S/S 2018 collection.

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Paisley provokes such strong associations: the wall hanging purchased during a gap year, the shawl on the piano in spaghetti Westerns, the underside of patio umbrellas in the 70s.

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There’s no symbolism with paisley, just abstraction. Paisley gets you thinking! And the more time you spend staring at the intricacy of the iterations, the more likely your brain will leap from thinking to dreaming . . .

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Minimalism/Maximalism: The Museum at the Fashion Institute of Technology 50th Anniversary Exhibit

photographing a circa 1875 American top hat

photographing a circa 1875 American top hat

The 50th Anniversary Exhibit at the Museum at the Fashion Institute of Technology is themed Minimalism/Maximalism, and pairs costumes from the late 18th century through 2019. The couplings are meant to demonstrate that minimalism and maximalism not only cycle (alternately dominate era by era) over time, but become stylistically more or less distinguishable depending on other elements in the zeitgeist (media, politics, economics, etc.)

Is minimalism just maximalism directed inwards? John Galliano discusses his concept for Maison Martin Margiela’s Spring 2019 collection, “Artisanal”

Listening to John Galliano explain his inspiration for the Margiela Spring 2019 collection (“Artisanal”) was incredibly interesting not just in terms of following another person’s philosophical journey, but also due to his dreamy suggestiveness contrasting so sharply with the remainder of the exhibit, which features explicitly iconic trend pieces only.

Anrealage Fall 2018

Anrealage Fall 2018

Anrealage Fall 2018

Anrealage Fall 2018

Walking through, I had my own revelation— we consumers of fashion take so much of it personally! We credit our desires for less AND more to personal growth/exploration/actualization rather than a heavily manipulated environment; taking on the less/more cycle as a matter of personal choice feels like the correct intellectual step, but also imposes an emotional burden.

Narciso Rodriguez Spring 2011

Narciso Rodriguez Spring 2011

Comme des Garçons Spring 2018

Comme des Garçons Spring 2018

Narciso Rodriguez Spring 2011; Comme des Garçons Spring 2018

Narciso Rodriguez Spring 2011; Comme des Garçons Spring 2018

Narciso Rodriguez Spring 2011; Comme des Garçons Spring 2018

Narciso Rodriguez Spring 2011; Comme des Garçons Spring 2018

The flipside of disempowerment is relief. I don’t like the idea that I have been manipulated by design and marketing trends into self-destructive consumerism, and knowing I hit the dead end of a path that was supposed to lead to self actualization really adds insult to injury! On the other hand, knowing I’m not uniquely stupid or silly or superficial (and therefore I shouldn’t feel uniquely guilty) gives me closure. As I walked the darkened exhibit loop, occasionally stung by nostalgia, I actually went through the 5 stages of grief!

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Yves Saint Laurent F/W 1965-66

Yves Saint Laurent F/W 1965-66

Yves Saint Laurent F/W 1965-66

Yves Saint Laurent F/W 1965-66

Yves Saint Laurent F/W 1965-66; Jil Sander Spring 1996; Akris Spring 2017

Yves Saint Laurent F/W 1965-66; Jil Sander Spring 1996; Akris Spring 2017

Yves Saint Laurent F/W 1965-66; Jil Sander Spring 1996; Akris Spring 2017

Yves Saint Laurent F/W 1965-66; Jil Sander Spring 1996; Akris Spring 2017

Yohji Yamamoto F/W 1991

Yohji Yamamoto F/W 1991

Yohji Yamamoto F/W 1991

Yohji Yamamoto F/W 1991

Agatha Ruiz de la Prada S/S 2014

Agatha Ruiz de la Prada S/S 2014

Comme des Garçons Spring 2017

Comme des Garçons Spring 2017

Zandra Rhodes F/W 1981

Zandra Rhodes F/W 1981

Comme des Garçons Spring 2017; Agatha Ruiz de la Prada S/S 2014; Zandra Rhodes F/W 1981

Comme des Garçons Spring 2017; Agatha Ruiz de la Prada S/S 2014; Zandra Rhodes F/W 1981

Iris van Herpen & Jólan van der Wiel 2015

Iris van Herpen & Jólan van der Wiel 2015

Christian Lacroix Spring 1991; Etro Fall 2013

Christian Lacroix Spring 1991; Etro Fall 2013

Christian Lacroix Spring 1991; Etro Fall 2013

Christian Lacroix Spring 1991; Etro Fall 2013

DENIAL: Did maximalism and minimalism really figure as much in my purchasing as practicality? Was occasionally purchasing for my fantasy self to keep my dreams alive really so impractical? Did I really need to re-evaluate my relationship to maximalism and minimalism beyond superficial taste in garments?

circa 1780 French silk waistcoat

circa 1780 French silk waistcoat

circa 1785 French court suit

circa 1785 French court suit

circa 1785 French court suit

circa 1785 French court suit

circa 1775-1780 English evening shoes

circa 1775-1780 English evening shoes

circa 1808 French shoes

circa 1808 French shoes

circal 1780-90 French or English suit

circal 1780-90 French or English suit

circa 1780-1790 French or English silk velvet suit; circa 18033-1805 American cotton muslin dress

circa 1780-1790 French or English silk velvet suit; circa 18033-1805 American cotton muslin dress

Circa 1850 American made “Dandy” ensemble

Circa 1850 American made “Dandy” ensemble

ANGER: If I hadn’t had an emotionally deprived childhood my material desires wouldn’t be so perversely extravagant! Also, how could I have hurt myself so much, stolen from my future, my health, my pets, my boyfriends, because I preferred to spend my attention and funds on shopping for beautiful things? I could have had a house, a kid, a stock portfolio . . .and all that fancy stuff just makes me feel overwhelmed when I don’t wear it, and a bit of impostor syndrome when I do. An emotional pyramid scheme!

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circa 1855 American dress

circa 1855 American dress

circa 1883 Worth evening gown

circa 1883 Worth evening gown

circa 1883 Worth evening gown

circa 1883 Worth evening gown

circa 1908 Suzanne Talbot hat

circa 1908 Suzanne Talbot hat

circa 1908 Suzanne Talbot hat

circa 1908 Suzanne Talbot hat

Callot Soeurs circa 1909; Brooks Brothers circa 1907

Callot Soeurs circa 1909; Brooks Brothers circa 1907

Callot Soeurs circa 1909

Callot Soeurs circa 1909

Callot Soeurs circa 1909

Callot Soeurs circa 1909

Callot Soeurs circa 1909

Callot Soeurs circa 1909

American cycling hat circa 1895

American cycling hat circa 1895

Madame Agnès cloche circa 1929; American cycling hat circa 1895

Madame Agnès cloche circa 1929; American cycling hat circa 1895

circa 1916 American denim walking suit

circa 1916 American denim walking suit

circa 1929 French wool ensemble

circa 1929 French wool ensemble

circa 1916 American denim walking suit; circa 1927 silk Gabrielle Chanel dress; circa 1929 French wool ensemble

circa 1916 American denim walking suit; circa 1927 silk Gabrielle Chanel dress; circa 1929 French wool ensemble

America panne velvet circa 1925

America panne velvet circa 1925

BARGAINING: From now on I’ll be minimal in my number of garments, maximal only in their nature. Starting now I will keep a steady weight so I don’t waste money buying wardrobes for iterations of myself in a 50 pound range. Once my body is right I will set a strict budget, research trends and plan my seasonal purchasing. I will only buy blue chip pieces I can easily resell . . .

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circa 1928 American flapper dress

circa 1928 American flapper dress

circa 1928 American flapper dress

circa 1928 American flapper dress

circa 1928 American “Flapper” dress; circa 1926 American evening dress; Cheney Brothers curtain panel circa 1930

circa 1928 American “Flapper” dress; circa 1926 American evening dress; Cheney Brothers curtain panel circa 1930

Fenton Footwear circa 1929

Fenton Footwear circa 1929

circa 1922 French evening bag

circa 1922 French evening bag

circa 1925 American headband

circa 1925 American headband

circa 1926 American evening coat

circa 1926 American evening coat

Muriel King 1932; Elizabeth Hawes 1930

Muriel King 1932; Elizabeth Hawes 1930

circa 1930 American evening gown

circa 1930 American evening gown

circa 1930 American evening gown; 1938 Elsa Schiaparelli handbag; Jeanne Paquin 1939

circa 1930 American evening gown; 1938 Elsa Schiaparelli handbag; Jeanne Paquin 1939

circa 1930 American evening gown; Jeanne Paquin 1939

circa 1930 American evening gown; Jeanne Paquin 1939

1938 Elsa Schiaparelli handbag

1938 Elsa Schiaparelli handbag

Elsa Schiaparelli 1938

Elsa Schiaparelli 1938

Adrian suit circa 1945

Adrian suit circa 1945

circa 1945 Gilbert Adrian label by Pola Stout suit; circa 1952-3 Claire McCardell dress; circa 1938-40 American sandals

circa 1945 Gilbert Adrian label by Pola Stout suit; circa 1952-3 Claire McCardell dress; circa 1938-40 American sandals

DEPRESSION: I’ve already lost the war. I’m almost 40, broke, with little to show for it. I have no one to look beautiful for, nowhere to wear my beautiful things. I can’t even show off my best stuff to the internet void because most doesn’t fit me and I don’t have the confidence anyway. Will I ever get my body back? It was all a waste of money and hope., and facing these facts is making me feel lots of anxiety and causing dysfunctional levels of procrastination and guilt.

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Hardy Amies circa 1948

Hardy Amies circa 1948

circa 1948 Hardy Amies evening gown

circa 1948 Hardy Amies evening gown

circa 1948 Hardy Amies evening gown

circa 1948 Hardy Amies evening gown

Anne Fogarty 1952; Pierre Balmain 1959

Anne Fogarty 1952; Pierre Balmain 1959

André Courrèges moon boots 1965; André Courrèges couture dress 1962; Marcello jumpsuit 1970

André Courrèges moon boots 1965; André Courrèges couture dress 1962; Marcello jumpsuit 1970

André Courrèges moon boots 1965; André Courrèges couture dress 1962; Marcello jumpsuit 1970

André Courrèges moon boots 1965; André Courrèges couture dress 1962; Marcello jumpsuit 1970

Bill Blass, 1967

Bill Blass, 1967

Michael Mott for Paraphernalia circa 1968

Michael Mott for Paraphernalia circa 1968

Wastebasket Boutique by Mars of Ashville paper dress 1968; Michael Mott for Paraphernalia circa 1968

Wastebasket Boutique by Mars of Ashville paper dress 1968; Michael Mott for Paraphernalia circa 1968

Wastebasket Boutique by Mars of Ashville paper dress 1968; Michael Mott for Paraphernalia circa 1968

Wastebasket Boutique by Mars of Ashville paper dress 1968; Michael Mott for Paraphernalia circa 1968

Peter Max for Randy, 1969

Peter Max for Randy, 1969

Bloomingdales jacket 1969; Thea Porter dress 1973; Larsen Design Studio upholstery 1971; Peter Max for Randy sneakers, 1969

Bloomingdales jacket 1969; Thea Porter dress 1973; Larsen Design Studio upholstery 1971; Peter Max for Randy sneakers, 1969

Bloomingdales jacket 1969; Thea Porter dress 1973; Larsen Design Studio upholstery 1971

Bloomingdales jacket 1969; Thea Porter dress 1973; Larsen Design Studio upholstery 1971

Bloomingdales jacket 1969; Thea Porter dress 1973

Bloomingdales jacket 1969; Thea Porter dress 1973

Mr. Fish 1972

Mr. Fish 1972

Mr. Fish 1972; Yves Saint Laurent Rive Gauche 1976

Mr. Fish 1972; Yves Saint Laurent Rive Gauche 1976

Dr. Scholls 1974

Dr. Scholls 1974

Jordache jeans 1976

Jordache jeans 1976

Stephen Burrows 1973; Halston 1976

Stephen Burrows 1973; Halston 1976

Stephen Burrows 1973; Halston 1976

Stephen Burrows 1973; Halston 1976

Elsa Peretti 1971

Elsa Peretti 1971

Elsa Peretti 1971

Elsa Peretti 1971

ACCEPTANCE: I guess it’s not entirely my fault, zeitgeist and societal pressures do exist, and also I’m human, not a crystal-ball-slash-mortgage-calculator. I had little support or guidance in life AND I’m hardly alone. My hard-won wardrobe should be giving me joy and confidence, not taking it away from me, and I have the power to make either happen. I also possess the poise to not hate myself even when I can’t cope as quickly or well as I’d like, and when I make mistakes. Most importantly, I’ve really learned something here and can let that simmer in my subconscious for as long as I want.

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Larry LeGaspi 1979

Larry LeGaspi 1979

Thierry Mugler 1979

Thierry Mugler 1979

Larry LeGaspi 1979; Thierry Mugler 1979

Larry LeGaspi 1979; Thierry Mugler 1979

Versace Fall 1991

Versace Fall 1991

Bob Mackie 1989; Versace Fall 1991

Bob Mackie 1989; Versace Fall 1991

Bob Mackie 1989; Versace Fall 1991

Bob Mackie 1989; Versace Fall 1991

Karl Lagerfeld suit 1984-85

Karl Lagerfeld suit 1984-85

Gianni Versace Couture bag Spring 1991

Gianni Versace Couture bag Spring 1991

Karl Lagerfeld suit 1984-85; Gianni Versace Couture bag Spring 1991

Karl Lagerfeld suit 1984-85; Gianni Versace Couture bag Spring 1991

Prada circa 1990s

Prada circa 1990s

Prada 1990s

Prada 1990s

Comme des Garçons 1983

Comme des Garçons 1983

Comme des Garçons 1983

Comme des Garçons 1983

Calvin Klein 1996

Calvin Klein 1996

Calvin Klein 1996

Calvin Klein 1996

Donna Karan Fall 1985; Giorgio Armani Fall 1985; Calvin Klein 1996

Donna Karan Fall 1985; Giorgio Armani Fall 1985; Calvin Klein 1996

Maison Martin Margiela F/W 1990-91; Helmut Lang F/W 1994-95

Maison Martin Margiela F/W 1990-91; Helmut Lang F/W 1994-95

Maison Martin Margiela F/W 1990-91; Helmut Lang F/W 1994-95

Maison Martin Margiela F/W 1990-91; Helmut Lang F/W 1994-95

Maison Martin Margiela F/W 1990-91

Maison Martin Margiela F/W 1990-91

Hussein Chalayan 1999

Hussein Chalayan 1999

Hussein Chalayan 1999

Hussein Chalayan 1999

LOL! So I did feel relief by the time I left, but also a residual longing to look better and get closer to my fantasy self. We all talk about ‘getting back to ourselves’ after both tragedies and happy setbacks, but do we actually mean retreating to our old dreams, vices, delusions, routines?

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Shaun Leane for Alexander McQueen F/W 2001-02

Shaun Leane for Alexander McQueen F/W 2001-02

Shaun Leane for Alexander McQueen F/W 2001-02; Givenchy Couture by Alexander McQueen F/W 1997-98

Shaun Leane for Alexander McQueen F/W 2001-02; Givenchy Couture by Alexander McQueen F/W 1997-98

Shaun Leane for Alexander McQueen F/W 2001-02

Shaun Leane for Alexander McQueen F/W 2001-02

Givenchy Couture by Alexander McQueen F/W 1997-98; Undercover S/S 2005

Givenchy Couture by Alexander McQueen F/W 1997-98; Undercover S/S 2005

Undercover S/S 2005

Undercover S/S 2005

Manish Aurora Spring 2006

Manish Aurora Spring 2006

Undercover S/S 2005; Manish Aurora Spring 2006

Undercover S/S 2005; Manish Aurora Spring 2006

Louis Vuitton by Takashi Murakami 2003

Louis Vuitton by Takashi Murakami 2003

Louis Vuitton by Takashi Murakami 2003

Louis Vuitton by Takashi Murakami 2003

Giorgio Armani Privé Fall 2007

Giorgio Armani Privé Fall 2007

Undercover S/S 2005; Manish Aurora Spring 2006; Giorgio Armani Privé Fall 2007; Louis Vuitton by Takashi Murakami bag 2003

Undercover S/S 2005; Manish Aurora Spring 2006; Giorgio Armani Privé Fall 2007; Louis Vuitton by Takashi Murakami bag 2003

Undercover S/S 2005; Manish Aurora Spring 2006; Giorgio Armani Privé Fall 2007; Louis Vuitton by Takashi Murakami bag 2003

Undercover S/S 2005; Manish Aurora Spring 2006; Giorgio Armani Privé Fall 2007; Louis Vuitton by Takashi Murakami bag 2003

Stella McCartney Spring 2009

Stella McCartney Spring 2009

Stella McCartney 2009; Phoebe Philo Pre-fall 2012

Stella McCartney 2009; Phoebe Philo Pre-fall 2012

Calvin Klein Collection by Francisco Costa Spring 2009

Calvin Klein Collection by Francisco Costa Spring 2009

Calvin Klein Collection by Francisco Costa Spring 2009

Calvin Klein Collection by Francisco Costa Spring 2009

Bao Bao Issey Miyake 2015

Bao Bao Issey Miyake 2015

Jil Sander by Raf Simons S/S 2011

Jil Sander by Raf Simons S/S 2011

Jil Sander by Raf Simons, S/S 2011

Jil Sander by Raf Simons, S/S 2011

I don’t have anything else to say about this exhibit (wink). I did enjoy it! All photos watermarked by the museum were taken by Eileen Acosta.

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Cushnie et Ochs Fall 2015; Ellery 2016; Julia y Renata Spring 2019

Cushnie et Ochs Fall 2015; Ellery 2016; Julia y Renata Spring 2019

Adidas 2018

Adidas 2018

Céline Fall 2015

Céline Fall 2015

Céline Fall 2015; Carolina Herrera by Wes Gordon Fall 2019

Céline Fall 2015; Carolina Herrera by Wes Gordon Fall 2019

Richard Quinn Fall 2018

Richard Quinn Fall 2018

Sacai by Chitose Abe Spring 2016; Gucci Spring 2017; Richard Quinn Fall 2018

Sacai by Chitose Abe Spring 2016; Gucci Spring 2017; Richard Quinn Fall 2018

Balenciaga 2018

Balenciaga 2018

Balenciaga 2018

Balenciaga 2018

At least I’ll never be decadent enough to wear these atrocious Balenciaga sneakers!

For inspiration or to donate, check out the Museum at FITs online collection here: http://fashionmuseum.fitnyc.edu/

Also, they have a Youtube channel: https://www.youtube.com/user/TheMuseumatFIT

The Cooper Hewitt + Cube Museum 2019 Design Triennial: NATURE

Fantasma by AnotherFarm: transgenic silk (injected with coral DNA to glow red) dresses

Fantasma by AnotherFarm: transgenic silk (injected with coral DNA to glow red) dresses

As per the website:

With projects ranging from experimental prototypes to consumer products, immersive installations, and architectural constructions, Nature—Cooper Hewitt Design Triennial, co-organized with Cube design museum, presents the work of sixty-two international design teams. Collaborations involve scientists, engineers, advocates for social and environmental justice, artists, and philosophers. They are engaging with nature in innovative and ground-breaking ways, driven by a profound awareness of climate change and ecological crises as much as advances in science and technology.

Tree of 40 Fruit by Sam Van Aken: using centuries old grafting techniques, 40 varietals are incorporated into one living tree

Tree of 40 Fruit by Sam Van Aken: using centuries old grafting techniques, 40 varietals are incorporated into one living tree

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Choreography of Life by Charles Reilly: depicts ATP synthase harvesting the metabolic energy stored in ATP bonds

Bioreceptive Concrete Panels by Marcos Cruz, Richard Beckett, Javier Ruiz, Nina Jotanovic, Anete Salman, Manja van de Worp: a natural method of fighting air pollution

Bioreceptive Concrete Panels by Marcos Cruz, Richard Beckett, Javier Ruiz, Nina Jotanovic, Anete Salman, Manja van de Worp: a natural method of fighting air pollution

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Cillia coat by Jifei Ou, Hiroshi Ishii, Fabian Neumann, Sen Dai: 3D printed hairlike structures on the coat can be programmed to provide warmth, act as sensors or aid movement

Cillia coat by Jifei Ou, Hiroshi Ishii, Fabian Neumann, Sen Dai: 3D printed hairlike structures on the coat can be programmed to provide warmth, act as sensors or aid movement

Bamboo Theatre by Xu Tiantian: with a little help from an architect, local Chinese bamboo basketmaking knowhow helps villagers build stable architectural structures for community gatherings

A World of Sand by AtelierNL: a sentimental statement about teamwork and diversity?

A World of Sand by AtelierNL: a sentimental statement about teamwork and diversity?

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AIR (Avoid-Intercept-Redesign) sneaker prototype for Adidas by Parley for the Oceans: running shoes made entirely of marine plastic waste

AIR (Avoid-Intercept-Redesign) sneaker prototype for Adidas by Parley for the Oceans: running shoes made entirely of marine plastic waste

3D-Painted Hyperelastic Bone by Adam E. Jakus and Ramille Shah: hydroxyapatite (a form of calcium found in bones) makes these implants porous, flexible, strong and recognized by the body like real bones, aiding faster bone regeneration and tissue in…

3D-Painted Hyperelastic Bone by Adam E. Jakus and Ramille Shah: hydroxyapatite (a form of calcium found in bones) makes these implants porous, flexible, strong and recognized by the body like real bones, aiding faster bone regeneration and tissue integration with low or no immune response

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The Substitute by Alexandra Daisy Ginsberg: CGI animation and DeepMind behavioral software is used to recreate the extinct male northern white rhino

Project Coelicolor by Natsai Audrey Chieza: Textiles dyed with pigment producing bacteria eiiminate water waste and pollution from the process. Colors are controlled by pH, oxygen exposure and time.

Project Coelicolor by Natsai Audrey Chieza: Textiles dyed with pigment producing bacteria eiiminate water waste and pollution from the process. Colors are controlled by pH, oxygen exposure and time.

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Bleached (II) by Erez Navi Pana: this salt-crystallized loofah and wood stool symbolizes changing human perception of natural commodities.

Bleached (II) by Erez Navi Pana: this salt-crystallized loofah and wood stool symbolizes changing human perception of natural commodities.

Cisterns by Hiroshi Sambuichi: displayed in old city cisterns around the world, this installation transposes the experience of visiting the Itsukushima Shrine (in Miyajima, Japan) onto local environments

Biocement Masonry by Ginger Krieg Dosier: made of mixed sand, nutrients and microorganisms, these bricks are as strong as standard bricks and are grown and dried in molds, eliminating high carbon emissions typical of the standard firing process.

Biocement Masonry by Ginger Krieg Dosier: made of mixed sand, nutrients and microorganisms, these bricks are as strong as standard bricks and are grown and dried in molds, eliminating high carbon emissions typical of the standard firing process.

Warka Water Tower by Arturo Vittori: collects potable water from dew, fog and rain

Warka Water Tower by Arturo Vittori: collects potable water from dew, fog and rain

Aguahoja II by Neri Oxman: made of biocomposite materials made from shrimp shells and fallen leaves, these “skin and shell” structures can be 3D printed and programmed with different mechanical, optical and olfactory properties, including timed deco…

Aguahoja II by Neri Oxman: made of biocomposite materials made from shrimp shells and fallen leaves, these “skin and shell” structures can be 3D printed and programmed with different mechanical, optical and olfactory properties, including timed decomposition.

Curiosity Cloud by Katharina Mischer and Thomas Traxler: hand fabricated replicas of different insects that would not be found together in nature are united, and triggered to flutter by human movement

Made by Rain by Aliki van der Kruijs: textiles dyed by rain interacting with their ink are “fingerprints'“ of location, date, time interval, and millimeters of rainfall

Made by Rain by Aliki van der Kruijs: textiles dyed by rain interacting with their ink are “fingerprints'“ of location, date, time interval, and millimeters of rainfall

After Ancient Sunlight by Charlotte McCurdy: this petroleum free algae-based plastic raincoat is manufactured in a manner that metabolizes atmospheric carbon rather than emitting it

After Ancient Sunlight by Charlotte McCurdy: this petroleum free algae-based plastic raincoat is manufactured in a manner that metabolizes atmospheric carbon rather than emitting it

Personal Food Computer by Daniel Poitrast and the OpenAg team at MIT: a tabletop sized, robot monitored chamber creates environmental conditions yielding desired phenotypic expressions from plants

Personal Food Computer by Daniel Poitrast and the OpenAg team at MIT: a tabletop sized, robot monitored chamber creates environmental conditions yielding desired phenotypic expressions from plants

Visualizing the Cosmic Web by Kim Albrecht: how are galaxies in our universe related? mapping their connections with different models helps us better understand the history of our universe, or potential multiverse

Monarch Sanctuary by Mitchell Joachim and Vivian Kuan: a vertical meadow with glass facade and carefully temperature and humidity controlled interior helps replete dwindling Monarch butterfly populations

Monarch Sanctuary by Mitchell Joachim and Vivian Kuan: a vertical meadow with glass facade and carefully temperature and humidity controlled interior helps replete dwindling Monarch butterfly populations

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I hope against hope that some of these carbon negative and pollution upcycling technologies become standard before we ruin Earth’s habitability.

Old, Old Houses in New York City: Dyckman Farmhouse, Sylvan Terrace, Morris-Jumel Mansion & Hamilton Grange

A sunny day in Morningside Park, very much engineered to look like a Hudson River School painting

A sunny day in Morningside Park, very much engineered to look like a Hudson River School painting

I love visiting historic houses. I find them inspirational from an interior decorating point of view, but also love soaking up their vibes . . . I don’t feel voyeuristic, I feel right at home!

Dyckman Farmhouse, built 1784

Dyckman Farmhouse, built 1784

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Recently, I’ve gotten a couple Inwood listings (for those of you who don’t know . . . my day job for the past 8 years is as a professional real estate agent, a perfect match for me as a native New Yorker) and so have been traveling quite a bit up and down the west side. It is time consuming to get to these neighborhoods, so I thought I would fold in visits to uptown sights I’d always meant to see . . . . but hadn’t.

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First up, the Dyckman Farmhouse between 204th and 207th streets on Broadway. This is a Dutch Colonial style farmhouse continuously occupied by one family and donated to the city as a museum in the 1910s. The sisters decorated it in an early 19th century fashion, as they remember their grandparents keeping it.

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It’s two floors and a cellar. The cellar is, of course, the kitchen; the first floor is the main entertaining space and upstairs are bedrooms. In undecorated rooms throughout there are vitrines of colonial artifacts that were either donated or unearthed in the vicinity. One silly touch is that many of the items are labeled with their name in Dutch (it’s not a stole, it’s a stoel!)

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Out back, dug into the hill, is a Hessian hut. These were used to house George III’s Hessian mercenaries. New York is terribly cold in winter and terribly hot in summer, and was almost completely Tory during the revolution. The hut predates the house.

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Walking north on St. Nicholas Ave. from 160th St., Sylvan Terrace looks like a Wild West movie set. It’s actually 20 rowhouses built in 1882 with maintained facades (the interiors are rarely even partly original). They go for around $1.6 million these days.

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At the top of Sylvan Terrace is Jumel Terrace, and the Morris-Jumel mansion. Built in 1765 by one of the wealthiest men in New York, it is quite different in character from the Dyckman farmhouse.

Morris-Jumel mansion, built 1765

Morris-Jumel mansion, built 1765

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Like the Dyckman farmhouse, the Morris-Jumel mansion is decorated in the early 19th century style; obviously, it’s a much grander house.

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Dare I say I find the juxtaposition of 1820s-40s wallpapers and carpeting against Georgian neoclassical decorative elements horrifying?

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Apparently when in France the Jumels socialized with Napoleon, so there’s a lot of that Empire style of decor as well.

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The house has a bit of history: this is where George Washington planned the Battle of Harlem Heights; this is where Aaron Burr and Eliza Jumel shared their marriage of convenience (her benefit being the maintenance of social standing, his the spending of her fortune).

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The upstairs bedrooms are furnished with a natural feeling jumble of furniture and decorative objects from the mid 18th through mid 19th centuries.

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Of course, the kitchen is again in the basement. When I reflect on my childhood, I remember spending an inordinate amount of time in colonial kitchens learning about how people cooked and ate in the 18th century. Isn’t it so silly, looking back? Isn’t it the part of history that matters the least?

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The grounds of Morris park are very small but removed and peaceful. The plantings are authentic to those that would have been used in the colonial Americas. When I visited they were past their bloom, but the heirloom roses here are known for their strong and lovely scent.

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I hate to say it, but Hamilton Grange (at St. Nicholas Terrace and 141st St.) was a disappointment. Firstly, it’s not on its original site, and it’s hard to contextually appreciate in the corner of granite rocks it currently occupies.

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The cellar floor is a small museum for schoolchildren using a few artifacts to map out Hamilton’s biography. The piano nobile, which I’ve photographed here, contains few if any of Hamilton’s belongings. The third floor bedrooms are inaccessible National Park Service offices. In other words, a waste of a beautiful historic house! This is technically the Hamilton Memorial, rather than a historic house museum, so my hopes were likely unfair expectations.

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A lot of the furniture is repro and the entry way floor is LINOLEUM! At least the palette isn’t as offensive as the Morris-Jumel mansion’s. Also, I have to give it to the basement kiddie museum: if you are quite familiar with the musical Hamilton, you will laugh at how some lyrics are pulled line for line from the 90s educational video played down there.

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Would I revisit any of these houses? No, although if I’m in the neighborhood on a sunny day I won’t hesitate to take my lunch to the Morris-Jumel garden to sit and relax in tranquility.