The Collection

Prologue Instead of dying, I learned to sew. I was nine, ill with my first bout of consumption, and the nuns at Saint Foy, the convent school in Agen, where I'd lived for a year, had sent me home with a high fever and a horrific cough, not expecting me to return. For two months I lay in bed while my grandmother cared for me. Despite her ministrations, I grew steadily thinner and weaker, until one day she placed on my quilt a stack of white silk squares and a pincushion spiked with a threaded needle. "Here, dear, let me show you," she said, lifting my limp body from the pillows. Holding me upright, she supported the needle in my fingers and guided it through the silk. Over the next weeks, as she taught me how to baste and overcast, how to turn hems and cut bias strips for binding, and how to patch holes, my fever and cough subsided, and my strength returned. I sewed my initials, IV, in the bottom right-hand corner of each square, and my grandmother tacked them to the walls -- monuments of my survival. Determination was in the stitches and also hope. I still feel the bloom of possibility when I put needle and thread to silk. Another grandmother would have given a sick girl a new doll or a kitten. But I come from a long line of seamstresses for whom stitching is the same as breathing. My namesake, the first Isabelle Varlet, worked at the court of Louis XVI, and, according to family lore, was imprisoned with Marie Antoinette in the Tuileries. I have a gold locket, dulled with age, that belonged to this Isabelle. Inside is an oil miniature of a lovely young girl whose fine straight hair is the same reddish-gold color as mine. In those years before the first great war, my grandmother and I lived in a two-story cottage on a hill overlooking the road to Timbaut, a little medieval village a mile outside Agen. Our house had an attic and a wine cellar, shuttered windows, a giant oak in front and a vegetable garden in back. Chickens scratched in the yard, where a little goat tethered to the fence gave us milk each morning. Beyond, lay undulating fields of sunflowers and purple heather starred with marguerites. I lacked only parents. My father, who made hats at a factory in Agen, suffered a heart attack several months before I was born, the event that cost my mother her life. Neither of my parents had siblings. My grandmother, though, had three sisters with whom she once owned a dressmaking shop. They were old ladies by the time I came along, and I never saw them in anything but heavy black dresses. Every day at four, the aunts came to our house for tea, drenched in black, their faces covered by black veils trailing the floor, and carrying little round hat boxes. When they stepped inside, they removed their veils and pinned black caps to their white hair. I asked them once why they dressed like death, and one of them answered, "So everyone will know we are widows!" It was their proudest accomplishment. After my recovery, my grandmother, in consultation with the aunts, decided to tutor me at home rather than return me to Saint Foy. Over the course of the next eight years, I suffered repeated relapses and was confined for long periods to bed. My grandmother and the aunts worried and hovered over me; my every cough and sniffle sparked grave concern. Because they feared they could lose me at any time, they indulged my smallest whim, and I grew up convinced that life would give me what I asked of it. My favorite pastime was drawing fashion sketches, inspired by illustrations in the Parisian magazines my grandmother collected. I occupied hours copying clothes from the glossy pages into my sketchbook and then inventing outfits to wear while playing dress-up. For fabric, I used scraps of serge, wool, bombazine, and cotton twill, remnants from my grandmother's shop that I kept in a large box on top of my wardrobe. Most of the pieces were musty and stained, but the box held a few treasures: a squarDiliberto, Gioia is the author of 'The Collection', published 2008 under ISBN 9780743280662 and ISBN 0743280660.