Cheese: A Story of Regret
When I first moved to Manhattan, I lived in a four-story walk-up
railroad flat in an old tenement building on 16th Street. The type
of apartment I lived in was called a "railroad flat" because, like
a train, you had to walk through one room to get to another. This
made having a bedroom in the back of the building rather difficult
to navigate, especially since I shared the apartment with a
sexually active on-again/off-again couple. I had to walk through
their bedroom in order to go into or get out of mine and I never
knew what to expect on the journey. We lived like this until they
broke up, and by then, mercifully, I had enough money to pay the
rent by myself. This meant that that I could watch whatever I
wanted on television whenever I wanted to, and I could listen to my
music—the Cocteau Twins, This Mortal Coil, Modern English—as loud
as I damn well pleased. I also attempted to decorate my apartment
in a way that was more adult-like, and as soon as I saved enough
money, I replaced the dingy milk crates holding my books with a
real bookcase and traded in my futon on the floor for a slatted bed
with a headboard. Given my profound lack of funds and my limited
expertise for all things D.I.Y., I found myself investigating a
myriad of design alternatives in an effort to invent my very own
version of "home sweet home."
I used contact paper to wallpaper the kitchen; I used
double-sided tape to stick on a faux-tin tile backsplash behind the
sink, and I created custom floor-to-ceiling bookshelves with bricks
bought from a local lumber store that I lugged up the four flights
and stacked in an alcove by the window. I also started to
entertain. I began by inviting family and friends, and slowly
expanded to colleagues and neighbors. I also experimented with
cooking and enjoyed presenting my handmade abstractions rather than
re-plated Chinese takeout, as I had previously been serving.

Millman's declaration.
About a year into my foray as a New York City
designer-cum-hostess, I was invited to dinner by one of my best
clients, a woman named Karin. She was a powerful and beautiful
media executive, and I was excited to be welcomed into her very
exclusive clique. I bought myself a brand new bright pink sweater
from Benetton and brought along the best bottle of wine I could
afford. When Karin's husband opened the door to their downtown
loft, I felt as if I had momentarily left the planet. The lights
glistened like little stars and the clink-clink of the crystal
glasses made it seem as if the stars were blinking. I looked all
around, and saw tall, skinny women in sleeveless black dresses and
sinuous up-dos and felt dull and lumpy in comparison. And the food!
There was a table a mile wide piled high with glasses and bowls and
platters of the most glamorous hors d'oeuvres I had ever seen.
There were thick pâtés, cocktails the color of my sweater and
shrimps the size of lobsters. I didn't know how to enter into this
foreign world and stood paralyzed next to the punch. Seeing my
dismay, Karin came over, wrapped her arm around my shoulders and
introduced me to an editor friend of hers. Her grace eased my
insecurity and I tried to avoid embarrassing her with my
awkwardness and naiveté.
After that night, I re-thought my own hostessing efforts and
vowed that from then on, I would entertain with a bit more elegance
and savoir-faire. And for the most part, I have. I still entertain
often, but I have long since moved out of the fourth-floor walk-up.
Now, guests walk downstairs into my living room as I try to out-do
myself by bestowing the very best, as often as I can.
Anxious and impatient, I imagined myself as George Costanza and
pushing her out of the way while yelling "fire."
Last December, I had an end-of-the-semester party at my house
for my design students and friends, and spent the afternoon happily
arranging and preparing and organizing. About an hour before the
soiree, I began to worry that I didn't have enough food. The
presentation didn't look perfect and I decided that I didn't have
the right amount of cheese. With an hour to go before the
festivities were scheduled to start, I calculated how much time I
needed to run to the market, buy more cheese and return home with
time to finish getting ready. I determined that if I ran, I could
just about do it. It was nearly dark as I rushed out, and I raced
through the store barely looking at what to buy. I loaded up my
cart and chose the shortest line. I fretfully rocked back and forth
waiting my turn. The woman ahead of me seemed to be on her way out,
but when she gave the cashier her credit card, it didn't go
through. She asked the cashier to try it again. And again, it
didn't work. Anxious and impatient, I imagined myself as George
Costanza and pushing her out of the way while yelling "fire." I
loudly sighed and did my inner eye roll. The woman tried another
card, but it too wouldn't go through. I glanced at my watch. The
cashier asked her if she wanted to pay with cash, and she examined
her wallet. She shook her head, no, she didn't have enough money;
she apologized and walked out. Finally, at long last, my
turn! As I put the copious packages of cheese on the
belt, I asked the cashier what the woman had been trying to buy.
She pointed at a bag of potatoes at the end of the counter. The
woman had been trying to buy a bag of potatoes. Here I was,
anxiously and obnoxiously trying to prove who knows what to
everyone around me by purchasing ludicrous amounts of cheese, and
the woman in front of me didn't have enough money to buy a
three-pound bag of potatoes. I stood red-faced as I paid for my
purchases, and when I was finished, I hurried outside to try and
find her. But she was gone.
It was now completely dark out, and I walked back home slowly. I
carried the cheese close my chest and my eyes burned in the bitter
wind. When I got home I put the cheese on a pretty platter and felt
the smallness of my spirit as I waited for my guests to arrive.
About the Author:
Debbie Millman is a partner and president of the design division at Sterling Brands, one of the leading brand identity firms in the country. Millman is president of AIGA, and chair of the School of Visual Arts’ master’s program in Branding. She is a contributing
editor to Print magazine and host of the podcast “Design Matters.” She is the author of How to Think Like a Great Graphic Designer (Allworth Press, 2007) and Look Both Ways: Illustrated Essays on the Intersection of Life and Design (HOW Books, 2009).