The Flirt. Kathleen TessaroЧитать онлайн книгу.
in the morning, you have my word.’ And tucking his copy of the Stage under his arm, he left.
Once outside, he picked up a rogue apple rolling just out of sight of the fruit seller on the corner, rubbed it clean on his jeans, took a bite and considered the ad as he strolled home.
Hours irregular. Pay generous. Both sounded just the ticket. But the moral flexibility excited him most. He was uncertain as to the existence of any moral substance in his nature to begin with. How did one know nowadays? What were the criteria? Apart from the most obvious guidelines (would you kill anyone? How do you feel about stealing from old people?), he felt curiously uninformed in this area. It was clear, though, that morally flexible was by far the sexier of the two options.
And Leticia would love him for it.
Leticia Vane jangled the set of keys in her hand and sauntered down Elizabeth Street. She was the kind of girl (and even nearing her mid-thirties, she still thought of herself as a girl) who was aware of how her body looked and the shapes it made when she moved. Even though there was no one about much before noon in this part of the world, she liked to think she was being watched and that people noticed in her a certain dangerous pleasure.
And indeed, Leticia Vane was in many ways her own finest creation. She’d taken what little rough material nature had allotted her and moulded, shaped, hacked away at it as a sculptor chips away at a hunk of marble.
Nothing remained from her previous life as Emily Ann Fink of Hampstead Garden Suburb. The uni-brow that God had seen fit to adorn her with was gone, plucked into two slim, expressive arches; the overbite long replaced; the dull, brown hair dyed a gleaming black that brought out the colour of her eyes. Her face was pleasing but, understanding that she was no beauty, she’d taken a great deal of time over her figure. She ate once a day and smoked the rest of the time. Dying young was far preferable to dying fat. It had taken a lot of hard work to make Leticia Vane, the kind of work not a lot of people appreciated.
And of course there was the back story, too. One of two children of a chartered accountant and a depressed schoolteacher wouldn’t do. Leticia wanted something more fascinating. So she transformed her parents into diplomats, serving in faraway countries. She’d been raised in a series of exotic locations; learnt languages (she was far too polite to show them off in public); had affairs at a preternatural age; been doted upon but still suffered from a past too secret and too painful to reveal to anyone.
She’d always longed to be exclusive. Rare. And now she figured she probably had another ten years to really enjoy the fruits of her labours. However, the fragile nature of her accomplishments made them all the more dear.
And so she sauntered, just in case someone was looking out of the window, wondering what that fetching young woman was doing up at this time of day. And with a swagger, she twisted the keys in the lock of the tiny shop.
Bordello was a lingerie shop but it had no shelves, no long lines of silk nothings swinging on rails, no emaciated mannequins with stiff nipples adorned in lace thongs. In fact it looked more like a small, turn-of-the-century Parisian drawing room than a shop. The walls were papered with fine black-and-white stripes, the Louis Quatorze fauteuils were covered in ivory raw silk; a rare, cobalt-blue chandelier sent beams of azure light darting around the room. Leticia offered a bespoke service. There were no samples. There were, however, yards and yards of the most exquisite aged silk and satin in the palest colours: champagne, dove grey, pearl and thumb-nail pink. Bolts of filmy organdies were piled into corners and there were baskets with drifts of lace—antique, handmade, tiny works of art she’d collected from all over the globe. On a round mahogany table in the centre of the room, her sketchbooks were piled high, full of her latest creations. There were no changing rooms, only a luxuriously appointed bathroom to the rear, complete with an antique slipper bath, next to a narrow workroom.
Leticia was selling a sexual dream in which each of her clients starred. So she created a stage setting of subtle erotic chic; just glamorous and sensual enough to stir the imaginations of the women she catered to.
And Leticia Vane didn’t cater to just anyone. Clients had to be referred. Exclusivity wasn’t a matter of money nowadays; everyone and anyone had money. In order to be desirable, you had to be unavailable. Celebrities were the kiss of death to any business; as they went out of fashion, so would you. And she didn’t make anything for women who’d had breast implants. Leticia’s objections were purely aesthetic. They simply ruined the balance of her creations. She prided herself on being able to lend a hand where nature had been careless or abrupt. Her nightdresses all had inbuilt bras which she fashioned from plaster moulds of her clients’ breasts. Discrepancies in size and shape were all catered to and gently adjusted. By raking the insides of each cup, she made the breasts fall forward, spilling recklessly, yet never fully escaping, bound by tissue-thin layers of sheerest net.
She didn’t make anything as vulgar as crotchless panties or cut-out bras, but she knew how to heighten the colouring, hand tinting the fabric of each design so that the nipples appeared pink and slightly swollen. And her famous French knickers were so silky and loose that they could easily be pushed to one side without ever completely removing them.
Leticia’s greatest asset was that she understood men and sympathized with women. The difficulty with most lingerie was that it repelled the very thing it claimed to enhance. Not every man was thrilled to arrive home after a long day to find his wife trussed up in three hundred pounds’ worth of bizarre, lurid corsetry—trying to act sexy in a get-up that had taken her a full half-hour to wriggle into. Both of them would be embarrassed by the effort of such a blatant overture; unsure of how to work various snaps and ties. Then there would be added pressure of having an unprecedented sexual experience that would warrant the expense. Leticia understood that when a woman went to such trouble, it was usually because her sex life had reached a crisis. But the very unfamiliarity of such a costume could make her feel ridiculous and, even worse, desperate. A deliberate performance always increases the possibility of sexual rejection.
Leticia firmly believed that quality was the result of quantity.
Good sex was simply a by-product of having a great deal of all sorts of sex; rough, slow, quick and to the point or dreamy and drawn out, random gropes, teasing touches, full-on oral feasts—all these things qualified as sex to her. And so, to facilitate an unconscious air of sexual susceptibility, she created heightened versions of everyday pieces; deceptively simple white nightdresses, only fashioned from such sheer material and cut so cleverly that they draped the body in a provocative, filmy gauze, accentuating the peek of nipples, hugging the curve of hips, lengthening legs; billowing beguilingly with each movement. Because they appeared so innocent and unassuming, they were undeniably erotic. Instead of shouting, ‘Fuck me!’ they whispered, ‘Take me…see…I’m not even looking!’ The cleverest bit was that, while a man couldn’t help but be hypnotized by the erotic undertones, the idea of sex would be his. The pieces compelled a man to act, and made the woman feel languid. She could lie back and lure her husband into action. And a man who initiates sex always feels more virile than one who has it thrust upon him.
Leticia had been taught this invaluable insight along with the rest of her trade by her godfather, Leo. He’d been a West End theatrical costume designer. And like Leticia, he was entirely self-created. He smoked thin, black Russian cigarettes, probably had his nose done back in the sixties and wore his beautiful silver hair loose around his shoulders. His uniform was what he called ‘an Audrey’—a black cashmere polo neck, black tailored trousers and soft, leather slippers he had specially made.
He laughed often and firmly refused to countenance any form of self-pity or pessimism.
He came from a different world—not just a theatrical one but from another age entirely—an age that had no qualms about artifice; that had no desire to appear natural, and understood that a little sleight of hand was nothing to be ashamed of. He’d been a dresser to Marlene Dietrich when she used to pin her scalp back under her wig; had sewn sweat guards