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earrings given to me by Christopher, and Christopher himself in haute WASP mufti, a smart double-breasted Ralph Lauren navy blazer with silver buttons set off by a green silk Christopher Hyland tie. I imagine that were it not for Christopher's classic attire, Juliet and I, dressed street smart, might not have been admitted. The luncheon we enjoyed at '21' was one of classic American food, which, coupled with the club's atmosphere—one I revel in—is what I like to call "haute old bag", a peculiarly New York City style I associate with about 1962, the era of pastel pillbox hats and A-line shifts. The Upper East Side still contains perfumed notes of "bag"; Christopher eschewed trendier establishments near MoMA in favor of this miracle on 52nd Street. Juliet and Christopher ordered sensibly from the prix fixe menu, Juliet having tuna tartare, followed by the Farol Island salmon; Christopher began with cornmeal-crusted crab cakes then consumed a prime beef short rib accompanied by an excellent mango chutney. I ordered, extravagantly, a la carte: lobster bisque followed by an exquisite steak tartare. Dessert posed no dilemma: mixed seasonal berries for Juliet, chocolate hazelnut mousse cake for Christopher. I did the rudest thing possible at a businesspersons' lunch: I ordered the Grand Marnier soufflee which took half an hour to prepare and which I did not quite know how to consume. Christopher and Juliet instructed me to pierce it with my spoon, loading in the crème fraiche. After lunch, Juliet guided Christopher and me through the MoMA exhibition she curated, "Designing Modern Women, 1890-1990," adding insight to what I had already gleaned upon my first visit to it on which my review in this issue of HYLAND is based. Christopher, too, noticed HYLAND