AFTER TARLOW HAD LOOKED
in on the work on the Warner house, she decided to drive out to Silver Lake to check on her finisher. She got lost on the way, and had to call her office from her car phone to have someone there tell her where she was. Eventually, she arrived at the shop. She strolled with the finisher through stacks of club chairs, occasional tables, sideboards, chandeliers, bookcases, desks, bureaus, and knickknacks. Some were old pieces to be tidied up and put in Geffen’s house. Others were pieces from Tarlow’s line that had been ordered by decorators from her showroom: a big black-lacquered cabinet with chinoiserie detailing, inspired by a seventeenth-century Japanese piece; a Louis XIII–style side chair, which she makes with a wider seat and slightly pigeon-toed legs; her Regency-inspired dining table, with tapering, reeded legs; a Tuscan-style side table with corkscrew legs; and a straight-legged Louis XVI–style desk, which she makes bigger, sleeker, and less detailed than a true Louis XVI. Ordering upscale designer furniture is like buying couture clothing: It can be altered according to the client’s whim. At the finishing shop, for instance, we came upon some tables and consoles of Tarlow’s that she had originally produced in burnished dark wood with lacy silver inlays and that were now being made to order for a foreign potentate who wanted them inlaid with gold leaf and painted bright green. The sight of these pieces made Tarlow look, for a moment, a little woozy. The finisher ran his finger over the edge of one of the green pieces, then shrugged at her and smiled. Tarlow smiled back. “This is why I stay away,” she said. “I walk through here and I get upset.”
On our way back to her showroom, Tarlow showed me a letter she’d got recently from a “competition adviser” who was looking for someone to decorate the new house being built by a computer zillionaire. The letter said, “[Mr. and Mrs. Zillionaire] are preparing to begin the exciting process of design for the interiors of their estate. . . . [Mrs. Zillionaire] will be the driving force behind decision making and shall receive my guidance and council throughout the process. . . . Following my effort to give [Mrs. Zillionaire] extensive exposure to the best design work being done in the country, a list of designers falling within an acceptable range of taste and quality was developed. The selection process will be conducted in a manner that will assure fairness to all invited to participate.” The letter was accompanied by a thick, glossy book with color photographs of the construction site.
I said, “Are you going to apply?”
Tarlow looked at me as if I had lost my mind.
TARLOW’S SHOP
is in a little ivy-covered building set half a lot back from the sidewalk. It is open only to the trade, and there is nothing fancy about it—just lots of furniture and books of fabric swatches scattered around a big, lofty room. Walking in, Tarlow was met by her design assistant, Jane Eschen, who was overseeing a photographer shooting a picture of some of Tarlow’s furniture for an ad. The centerpiece of the arrangement was a towering cinnabar Ming cabinet that cost several hundred thousand dollars. Hanging behind it was a Tarlow-designed mirror with a frame that looked as if it were made of gilded tree branches; the mirror cost nine thousand dollars. Eschen showed Tarlow a Polaroid that had been taken to check the arrangement and the lights.
Tarlow said, “This is awful.”
Eschen looked at her. Tarlow tapped the picture. “Look. All the white behind it. That cabinet. It doesn’t work at all.” Tarlow put down her car keys and walked into the center of the shop, where the photographer was standing on a ladder with a silver umbrella.
“Rose,” he said, hesitantly.
“We’ll fix it,” she said. She stood for a moment and looked around the room. She was dressed in a smart navy suit with a short skirt and a pair of high heels. After a moment, she pushed her sleeves up slightly and then hauled a side chair across the room and put it in front of the cabinet, moved a vase that had been sitting on it, and opened the door of the cabinet to block most of the white wall behind it. The photographer took another Polaroid and then showed it to her.
“I hate this chair,” she said.
Eschen grimaced and said, “Oh.”
“It’s too gold,” Tarlow said. “I hate it.”
“We’ve had it in the line forever,” Eschen said.
“Well, I hate it,” Tarlow said. She pointed at the cabinet and said, “It’s not good with that.” She hauled the chair back to the other side of the room.
The photographer looked through his viewfinder and said, “Rose, it’s great now. You did it.”
She took a deep breath and shook her head. She stood back and contemplated the arrangement. Her eyes were squinted and her arms were crossed. Everyone in the room stood still in anticipation. After a moment, she pushed up her sleeves again, strode across the room, moved the cabinet door a quarter of an inch, shifted the vase an eighth of an inch, and then said, “There. It’s right now. It’s perfect. I couldn’t stand it before.”
SHORT CUTS
R
OBERT STUART RAN AWAY FROM HOME
when he was a teenager, used to be macrobiotic, worries that Republican welfare reform might lead to urban violence, thinks Hugh Grant is good-looking but not amazing-looking, is a Nietzschean, has been faithful to his wife since they met seventeen years ago, and planned to become a social worker but ended up as a hairdresser. I know all these things because Robert mentioned them the last time he trimmed my hair. Most of what I’ve told Robert about myself I don’t remember, but it ran deep. Robert cuts hair at his own shop, the Robert Stuart Salon, on Amsterdam Avenue at Eighty-fourth Street, in a skinny storefront about the size of a subway car, with strawberry-blond walls and five wide black barber chairs. The place has a pearly sleekness, but it’s cozy. If you are sitting on the banquette near the door and you speak emphatically, someone having a hair wash in the back can answer you: Everything in the place is within earshot.
Robert, who is forty-three years old, has been in business on Amsterdam Avenue for fourteen years. For the first ten years, he was in a bigger space, a few blocks south. He moved into his current storefront four years ago. It was previously occupied by Mario the shoemaker, who now has a place up the block. I happen to patronize Mario, too, but our conversations rarely advance past the subject of rubber soles. This is not a reflection on Mario—who is affable enough, although he’s never run his fingers through my hair—as much as a reflection on my relationship with Robert and the kind of place he runs. It is a sort of salon of salons, an ongoing symposium involving Robert, his assistants, his clients, and whoever else walks in the door. The majority of Robert’s customers are professional people who live in the neighborhood or work nearby—somewhere between Lincoln Center and Columbia University. Many of his regulars are actors, dancers, writers, casting directors, art dealers, or youngish lawyers—people who appreciate stylish haircuts but need to look as if they could hold a job. Many of them are big talkers and don’t need much head massaging to open up to Robert or, as often happens, to one another. Robert himself may be the biggest talker of all. He turns out to be a perfect master of ceremonies, in a compact, ideally proportioned forum, in a neighborhood of chatterboxes, at a moment when the success of confessional television shows and call-in radio programs suggests that people are especially curious about one another and are full of their own opinions and raring to talk. Every time I’ve been in the salon, I have stepped knee-deep into a conversational current that moves swiftly from, say, spiritualism to cream rinse to Oedipal struggle. Between the gushing of his customers, the roaring of the blow-dryers, the trilling of the telephone, and Robert’s own conversational flow, the salon is a river of constant noise.
ROBERT THINKS WOMEN
are great. Most of his clients are women, although he does cut hair for a lot of men. Whenever men are in the salon, they are expected to act like women—that is, to speak frankly and openly about personal, intellectual, and political matters and, at the same time, make informed decisions about their hair. One day not long ago, Robert was saying that he felt that his cognitive identity was at least as much female as male, which meant, essentially, that he was paying himself a compliment. There were half a dozen people in the salon at the time, including his wife, Valerie, who was working that day as the receptionist. (Robert’s regular receptionists are Nancy Bender, a singer who is sometimes hired to perform as a life-size Barbie doll at parties; Roberta Willison, an actress who was in London just then studying with the Royal Shakespeare Company; and Miguel Garcia, a former Eastern Airlines flight attendant who is between jobs.) Robert then said that he’d noticed that in his group-therapy sessions—he has been in every kind of therapy but likes group the most—the women were much more able to open up than the men, and that he considered his sentimental nature and his enthusiasm for conversation to be fundamental feminine traits. He happened to be cutting a guy’s hair at the time, and he paused, with one hand steadying the guy’s head forward so he could trim the fringe along his neck; his other arm was outstretched, and the needle-nosed silver scissors he held were glinting in the light. A few minutes earlier, Robert had been moderating a discussion of violence in film—he’s against it—and saying how proud he was that his fifteen-year-old son hadn’t liked
Pulp Fiction.
“Jeremiah and I walked out of
Pulp Fiction,
” he’d said. “We went to see
Little Women
instead. I loved it. I cried.”
G
UY IN THE CHAIR
: Really? I thought
Pulp Fiction
was great. Of course, I grew up watching violence on television.
R
OBERT
: See, I have a hard time with that. Don’t you think we’re becoming a society that is getting too used to violence? And humor with violence—that really scares me. I don’t want to go too, too short in the back today. On the other hand, if it’s short on top and too bushy in back, it gets sort of Brooklynish—you know what I’m saying?
G
UY
: Definitely. The Pentagon did a study of bombardiers in the Gulf War—
W
OMAN IN THE NEXT CHAIR
(
Having highlights done, her head bristling with tinfoil leaves full of hair dye
): I heard about that study and—well, I’m a television producer, and it makes me really think about my profession and its role in where society is going.
R
OBERT
: You know, since you’re in such a powerful industry, in television, you really affect people’s lives. I envy that. Making an impact, that’s what it’s about, isn’t it? Sit still—I’m going to go over your sideburns now.
ROBERT IS SHORT
, wiry, and jaunty. He has bright brown eyes, olive skin, and thick, glossy, highly manageable dark hair, which he wears loose and longish, so it hangs over his ears. Ninety-nine percent of the time that Robert and I have spent together, I’ve been dressed in one of the shop’s black floppy robes. A hundred percent of the time, he’s been wearing a pair of cotton-twill pants and a rayon camp shirt—usually vintage, and usually the kind that Ricky Ricardo wore around the house on
I Love Lucy.
He owns one suit. I know this because one day the subject came up while he was cutting the curly blond hair of a woman who teaches law and researches feminist legal theory at Columbia.
R
OBERT
: So, you just got married, right? Tell me about it. How was the wedding? How was your family? Were they supportive? It’s so interesting to me that you had a real seriously traditional wedding. Do you think tradition is coming back?
L
AW PROFESSOR
: You know, I really wonder. I never thought I’d want that kind of wedding, but it really mattered. I thought I’d feel funny, but I didn’t. It was great.
R
OBERT
: I love ceremonies. When our kids were born, we had everything—a bris, a baptism, everything. After I’m done today, I’m going to a Bar Mitzvah. I brought my one suit. It’s like a joke in my family: Oh, here’s Robert and here’s Robert’s one suit.
Everything Robert says, he says with overwhelming earnestness. In his presence, you feel that everything is important and everything is at stake—the direction of society, the length of your bangs, the quest for self-awareness. He is a stirring storyteller. His accent is memorable; it involves relocating
r
’s whenever possible, in the old-fashioned New York way. He now lives in Tenafly, New Jersey, but he is a native of the neighborhood. He grew up twenty blocks north of the salon; his father owned a jewelry store on the Lower East Side.
Robert has a handsome, sturdy aspect, but he is also quite excitable. One day, several of us in the shop were talking about anxiety—someone getting highlights done started the discourse by saying she’d lately become insomniac—and Robert mentioned that he’d twice gone to the emergency room in a panic because he thought he was having a heart attack. The first time was when he had a steak after years of being macrobiotic; the heart attack turned out to be gas pains. The second time was before traveling overseas to meet his mother-in-law. Valerie is Filipino, and Robert figured her mother might have never before met anyone Jewish, and then he began obsessing over the possibility that while he was in the Philippines he would be kidnapped by zealous Christians who would try to convert him. This heart attack turned out to be pure anxiety. Robert has a restless mind and what used to be called a vivid imagination. He also happens to be dyslexic, and recently he was found to have attention-deficit disorder. For several weeks after that diagnosis, ADD was the big topic in the salon, and many of his clients became convinced that they might be suffering from it, too. One day, I walked in while he was finishing cutting the hair of a country-and-western singer, who was describing how she, too, had trouble concentrating. Robert was snipping the last pieces around her ear. “I don’t know,” she was saying. “I just can’t get focused. My mind goes back and forth.”
“Exactly,” Robert said. “I read the same page in a book over and over again.”
Just then, the woman caught a glimpse in the mirror of the tableau that included Robert, his sharp scissors, and her temples. “You, um,
can
concentrate, can’t you?” she said, suddenly rigid. “I mean, you’re holding blades against people’s heads all day.”
“Me?” Robert asked. “Oh, not really. I can barely concentrate at
all.
”
ONE RECENT SATURDAY
, I sat in the salon, got my hair washed, and then sat in the salon for the rest of the day.
A
LICE
B
URRESS
, a television commercial director: I’m having a one-step and a cut.
R
OBERT
: A single process, you mean.
A
LICE
: That’s what I mean. A single. (
To Roberta Willison, the receptionist
): Did you know that my mom comes up every six weeks from North Carolina to have Robert cut her hair? And now she brings all her friends. Robert got them all to get out of those old Southern boofy-dos. Now Robert’s got me in one of those
Beverly Hills 90210
shaggy cuts.
R
OBERT
: I think of it more as Jane Fonda in
Klute,
sort of shaggy-messy. So how are you, Alice? How’s life?
A
LICE
: I’m good. I’m bidding on a Kellogg’s commercial in Milan, so I was going to ask you about Italian people, since I know you were in Italy on vacation. I’ll be directing people in Italian, but I don’t speak Italian. It’s an American product, so they want an American director, because they think of Americans as more humanistic.
R
OBERT
: Do you want to do features?
A
LICE
(
sighing
): Well, I want to, but I think to do features you need a lot of life experience.
R
OBERT
: Don’t cross your legs. It makes it uneven. Don’t you think you have life experience?
A
LICE
: Oh,
no
—not really. I mean, I’ve been in school my whole life. I haven’t really been out there.
R
OBERT
: It’s really amazing to me that you can say that. It shows real strength that you can see that in yourself. You’re so open. That’s probably why you’re good.
A
LICE
: I think I get some of my jobs because they want a woman.
R
OBERT
: Maybe it’s the sensitivity that women have that they’re looking for.
R
OBERTA
: Or maybe that a woman wouldn’t make as strong a statement. Maybe it’s not such a compliment.
R
ICHARD
S
COTT
, one of the hair colorists: Roberta, I was just thinking, with your looks and your manner, you’re a walking Merchant-Ivory film.
M
OLLY
H
ASKELL
, the film critic and writer, who is waiting for her appointment: You know, I showed some thirties screwball comedies to my class at Columbia this semester, and they really showed how much power the women of that era had—for example, the power of knowing they could say no. Now women are just expected to be sexually available, and, instead of it giving them more power, it gives them less.
J
OANNA
W
OLPER
, a television producer, who has just walked in: Are you Molly? You were my first guest on my television show!
Robert is now done with Alice and is cutting the hair of a ninth-grade girl named Anna Gay, who has also decided to get a Jane Fonda–in-
Klute
hairdo. Anna is watching herself in the mirror and appears paralyzed. Her mother, sitting on the banquette near the door, keeps telling her that she looks great. Robert finishes and says to her that she looks great. She looks as if she is about to cry. “You’re going to hate me for a day,” he says to her. “But then you’ll be okay, because
everyone
will tell you how great you look. You are going to hate me, but I can take it.”
M
OLLY
: Doesn’t it kill you to see a girl getting her hair cut? It’s such a powerful memory, your haircuts when you were a kid. And the reaction of your mother. My mother is always telling me how she liked my hair better “before,” and the “before” is always some imaginary time that never was.
R
OBERT
: My father had to drag me to the barber, kicking and screaming. Of course, with my family, everything I did I did kicking and screaming.
In comes a pock-faced man selling packages of aerosol pepper spray, which he offers to Robert and Richard, saying, “Gentlemen, perhaps you’d like one as a gift to your wives or girlfriends?” Robert shakes his head, and the man shrugs and leaves. The door opens again, and Mimi Turque, who plays the mother in the Broadway production of
Kiss of the Spider Woman,
enters. She is here to tell Robert that her recent haircut was a success. “My husband fell over!” she exclaims. “The hairstylist for the show fell over! Everyone fell over!”