57 pages • 1 hour read
Piper HuguleyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In 1952, Jacqueline is engaged to John Husted. This John isn’t in the Social Register (a publication listing the names of high-society members), so he’s not part of their usual wealthy circle. Mrs. Auchincloss doesn’t approve of her daughter’s match. Her younger daughter, Lee, is soon to be engaged as well. Ann draws up Jacqueline’s wedding dress, much like her debutante dress, as she asks. A month later, however, Jacqueline’s engagement ends.
A year after, Jacqueline comes into Ann’s shop with the glow of love. She’s engaged to John F. Kennedy now, a senator. As Ann works up the slim, sleek dress for Jacqueline, John comes into the shop. He and Mrs. Auchincloss insist that Jacqueline needs a big, statement-making dress fit for a queen. Ann reluctantly complies.
The narrative skips forward to Ann and her church ladies recreating Jacqueline’s dress (the events of the Part 1 Interlude and Part 2 Interlude have now taken place). They work tirelessly on the gowns. Ann tells Sallie that she will never explain this fiasco to Jacqueline or John.
Ann answers the church ladies’ questions about Jacqueline since she knows her quite well by this point. She speaks directly to the ladies using “you.” Ann thinks about how they must produce the same high-quality work in record time. This defining job is her destiny.
A few days later, Ann works to exhaustion. Everyone rushes through the final alterations and steps of the dresses. They ensure that they are perfect.
Ann, Arthur, and Sallie travel to Rhode Island for the wedding. The butler doesn’t let them in at first due to his racist prejudices, but Ann fights back. She’s finally let in with the dresses. The bridesmaids are thrilled, but Jacqueline doesn’t look in her box. Ann is concerned that she doesn’t seem excited about her dress. Mrs. Auchincloss tells her that Jacqueline has a bad case of nerves.
That night, Ann tries to get Jacqueline to put on the dress for final touches, but she isn’t in the mood. Jacqueline is worried since her father, Mr. Bouvier, hasn’t checked into the hotel yet. Ann reassures her that he will come.
The next morning, Ann fits Jacqueline into her dress. She leaves to get the veil and overhears Jacqueline disparaging the dress. Her mother tells her that it’s lovely and will be the fashion statement of the year, but it was never the style Jacqueline wanted. She hates the tight bodice and shoulders in particular. Ann is hurt that her work is critiqued so harshly, but she makes note of these areas to improve. She offers up another “prayer-wish” that this will be a big break in her career.
Ann returns and takes off the dress for final alterations. Jacqueline calls the hotel, but her father still hasn’t arrived. Ann hopes that she is taking her worry about her father out on the dress. She believes that Jacqueline’s father will show up, which comforts Jacqueline.
When Ann goes for a final fitting with Jacqueline early in the morning, she finds the bride teary. Jacqueline cries about her father still not arriving on her wedding day. Ann explains her backstory of never knowing her father, and she says that Jacqueline should be happy that her father loves her no matter what happens.
Jacqueline tries on the gown and appreciates the improvements. She’s surprised to feel better in it, stating that Ann’s work makes her look like an empress.
Before the ceremony, Ann attends to Jacqueline for last touches, as she does for every bride. She adjusts her veil. Jacqueline cries because her father isn’t in the church. Ann advises her to hold her father in her heart. Feeling renewed, Jacqueline calms herself and walks down the aisle.
After the wedding, Ann regrets speaking out of line to Jacqueline, but she only wanted to help. The advice costs her since her name doesn’t appear in any of the papers or magazines. She’s never given credit for the beautiful dress.
In 1955, Mrs. Auchincloss comes in for her third daughter Nina’s debutante dress. Nina is Jacqueline’s half-sister. Mrs. Auchincloss tells Ann that Jacqueline has just had a miscarriage, and Ann expresses her sympathy.
Nina wants a debutante dress like Jacqueline’s, so Ann gets to work. In the papers, Nina is crowned Debutante of the Year and mentions Ann’s name as the designer of her dress. She is the first client to recognize Ann.
In 1956, Ann makes a baby layette because Jacqueline is pregnant, but Jacqueline has a stillborn girl. In 1957, Nina’s engagement is announced, but she doesn’t come to Ann for her dress. Later that year, Jacqueline has a healthy baby girl named Caroline.
In 1958, at almost 60 years old, Ann continues to run her successful business. Ruth is going to get married in the spring, and Arthur is her bookkeeper.
Ann goes to the doctor, who tells her that she has glaucoma. He insists that she rest her eyes; the close design work is hurting her sight. Ann doesn’t heed his warning.
One day, Arthur is late to work. Ann worries but must assist her clients. Ruth comes in and tells her that Arthur was killed in a car accident. Ann is distraught, and she rages. Ruth and Sallie take her home, where Ann is barely able to function.
A week into her grief, Ann must get ready for the funeral. She can barely get out of bed. Sallie and Ruth give her solace, promising her that Arthur wouldn’t want her to give up. She can barely think of all the commissions; without Arthur, she doesn’t have a stitch left. When Ruth mentions that Cora is doing poorly, too, Ann wants to see her.
Cora comes over, and they discuss their loss. Cora thinks that Ann stole Arthur from her since she was always taking up his time with the shop. Ann realizes that Cora broke the pipe because Jacqueline’s wedding was during her and Arthur’s anniversary. They have a confrontation that ends with a reconciliation; the women cry with each other about Arthur.
Classism and wealth are constant undertones throughout the book, and the Social Register is a symbol of high society. Started in the 1880s, the Social Register is a publication that lists the names, addresses, clubs, and more information about the principal members of high society. Founded by elite New Yorkers, it represents exclusivity, separation of classes, and the American aristocracy. Jacqueline’s first fiancé is not of high enough standing to rank in the publication, meaning that he’s not part of the wealthy socioeconomic class. He is therefore not judged as good enough for Jacqueline. Ann is even surprised that Jacqueline’s fiancé is not registered since she herself is “an approved merchant” in the publication (256). The Register listing is her “in” to the wealthiest market. Though still in use today, the Social Register was more popular during Ann’s lifetime, so it becomes part of the world building for this work of historical fiction.
In this section, the novel returns to the recreation of the ruined dresses for Jacqueline’s wedding in 1953; this shift connects the nonlinear timeline to previous chapters. It also uses Ann’s intimate voice as she speaks in second person. In fact, Ann starts Chapter 29 by speaking directly to the women who are helping her sew, but this closeness also functions as speaking directly to readers: “Here’s where we are, the point you were wanting to hear about. Is this why you all came to help me sew so many dresses in record time? What is Jackie Kennedy really like?” (266). The question of whether and how Ann can recreate Jacqueline’s dress can finally be answered. Huguley therefore refers explicitly to the fact that this is a climactic point toward which the narrative has been moving. The phrase “wanting to hear about” is also a metafictional nod from Huguley that she’s aware that Jacqueline’s wedding storyline is a big draw.
Ann faces a considerable challenge when Jacqueline doesn’t like the dress because this is the first time her work has been disparaged. It tests her inner resolve and toughness to take feedback and showcases Resilience in the Face of Adversity. Because she’s worked tirelessly against adversity and takes great pride in her work, she’s hurt when Jaqueline doesn’t like the dress: “‘This dress looks like a lampshade.’ Jacqueline’s distressed voice smacked me in the face and my fingertips started to sweat” (279). The minute detail of the fingertips again gives Ann’s voice an intimate tone, supporting the text’s goal of providing a closer insight into a public figure. Though Jacqueline never wanted this style, her hatred of the wedding gown gives Ann an internal conflict of doubt and misery: “I had rarely heard such a critique of anything I made before. All of my worst fears had come to light. Something that I had created wasn’t going to be well accepted. I had failed” (281). Ann cannot stand her high-quality work being critiqued, so she won’t give up. Her dedication in the face of conflict shows that she can overcome even the most painful experiences as a professional designer—a strength that she must rely on for harder times to come, such as Arthur’s death.
Arthur’s death is a significant turning point for Ann and another example of loss and grief that Huguley portrays. As a young girl, Ann lost Mama and Grandma. Though he didn’t die, she also lost Caleb’s love due to her passion for design taking her attention. Arthur’s death marks another tragedy in Ann’s life. In comparison to her other sufferings, Arthur’s death hits Ann the hardest, as the staccato language shows: “Arthur. After Arthur. I did not want After Arthur time. Only Arthur time. I’ll do whatever you say, God. […] My art? My soul? So be it. Take it. Take it from me. Only. Keep me in Arthur time” (302-03). Using short, snappy sentences suggests the quick, stabbing pain of Ann’s emotions. Likewise, the terms “Arthur time” and “After Arthur time” indicate that Ann’s whole world revolved around Arthur since it adapts the common notations BC and AD.
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