So there we were, in her apartment, trying to make good on the opportunity.
Her home was warm, layered, and full of evidence of a life lived with enormous curiosity. Books, art, photographs of Gloria with remarkable people, and objects collected over years of travel. Everywhere you looked, there was something with a story attached to it.
Before we began, I'd brought Gloria a few things.
One was a tiny vintage suitcase pillbox that I had collected as part of a vintage drop we’re preparing for and thought Gloria might appreciate it given her love of travel. The other was Nehi grape soda. I'd read somewhere that she used to drink it on road trips, and thought it might be fun to bring.
She recognized it immediately.
"It was my childhood drink," she said.
She was delighted that Nehi still existed, even if the logo had changed. The miniature suitcase got a similarly enthusiastic response, although she pointed out (quite reasonably) that you couldn't fit much in it.
"Oh, this is like Christmas," she said as we went through the things I'd brought.
Later, she amended that assessment.
"Christmas only better."
I'm not sure I've ever received a better review of my gift-giving abilities.
Among the things we showed her were products that represented the ideas behind Weldun. One was a makeup product by Guide Beauty, created by a woman living with Parkinson's disease, with packaging designed to be easier to grip.
Gloria examined how it worked, but also noticed something else: it was beautiful enough to be an art object.
I loved that observation. So much of what we're trying to do comes down to the idea that the things we need don't have to look clinical or apologetic. Function can be part of what makes something beautiful.
Later, I knelt beside Gloria's chair with three vintage canes I'd collected for the shoot.
Gloria used a cane, and I'd wanted to bring her a few options that felt personal and expressive. I held them out for her to choose.
She pointed to one.
"This one."
The brass horse head.
As we talked about clothing, Gloria described how much of her own style had emerged from a desire to stop dressing according to other people's expectations.
"Slacks and blue jeans because in my generation we were supposed to wear skirts and high heels," she explained.
Her famous glasses, she told us, had been practical, but also a kind of defense. When asked whether she'd imagined they would become such an iconic part of her image, she was matter-of-fact. "They were accidental."
"We are each a unique individual. We should rethink being categorized by anything."
Here was one of the most recognizable personal styles of the last century, and its owner hadn't set out to create an iconic look. She'd simply found ways of dressing that felt right to her.
Later, reflecting on the freedom she experienced when she stopped feeling obligated to wear certain things, she put it plainly:
"But we all ought to be able to choose."
Choice is at the heart of so many conversations about women's bodies, yet we often think about it only in the most consequential terms. Gloria understood how those questions extend into everyday life. What we wear. How we present ourselves. What we're expected to tolerate in order to be considered beautiful, appropriate, or acceptable.
At one point, I was explaining my hope that Weldun could help create a cultural shift in the way we think about bodies that change.
Gloria wanted to know how I planned to do that.