EVENT UPDATE : MY DUCHESS BAFTA SCREENING / Q&A .. BAFTA PICCADILLY / THE SOHO HOTEL LONDON.. NOVEMBER 9TH 2026 ..

 

To herald the release of My Duchess in January 2027, Bafta members were treated to a sneak preview of Joan's new film at Bafta Piccadilly with a Q&A at The Soho Theatre. Author and
documentary film maker Kate Muir attended the exclusive event and here is her report..

I’m back! I’ve been in book-jail, writing away for weeks. Now I’m out and I have seen the glorious spectacle of Joan Collins in My Duchess. That’s her above, playing Wallis Simpson, Duchess of Windsor and wife of the former King Edward VIII, in her final years in exile in Paris.

In an orgasm of camp, extreme fashion, humongous jewels and Polyfilla make-up, the drama channels Hollywood bitch-power classics like Whatever Happened to Baby Jane and All About Eve. My Duchess is a scream, and it’s also terribly sad and moving. Collins carries the late-life Wallis like the part she was always destined for. Grandeur oozes from her Lancômed pores. My Duchess isn’t out until early next year, but I went to a sneak BAFTA preview, andLa Collins herself arrived in a slick black trouser suit and high-heeled boots for the Q&A afterwards at the Soho Hotel. We broke into a standing ovation. Her Q&A was funny and razor sharp.

Joan & Percy at Soho Hotel with film director Margy Kinmonth

Afterwards, my friend Margy Kinmonth (director of the recent War Paint: Women at War documentary) talked to Joan and her husband Percy Gibson, while I took the paparazzi role. Margy and I have long been involved in campaigning to increase the representation of women in the film business, and just seeing a movie (written by Louise Fennell) with two such awesome roles for women-in-their-prime filled us with hope, as did the cameo from Miranda Richardson. Collins fought for years to get the film made.

The film focusses on Wallis’s later years, after the Duke of Windsor had died, and somewhat glosses over the fact that the couple toured Nazi Germany in 1937. But as a portrait of growing old, and leaching celebrity kudos, My Duchess is astonishing, and Collins literally lets her grey hair down in some increasingly brave and bloody scenes. They don’t make ‘em like this any more.

Before I was a women’s health writer and campaigner, I was the chief film critic of The Times, and I really miss movie moments like this. But I’ve got a serious job to do here too, and I’ll keen on writing about the power of hormones. My new book Can I Avoid Alzheimer’s? - Why medicine failed women and how we can reclaim our brains has been hell to write - I’ve been pulling eight-hour days, seven days a week, and getting up in the middle of the night when an idea erupts. It’s the hardest book I’ve ever written, and it explains that Alzheimer’s is not just about genetics - metabolism and menopause play a huge role in risk. I’m excited about the fresh research I’ve done on the positive effect of body-identical Hormone Replacement Therapy on brain health, and the full story will be out from Simon and Schuster in May 2027.

In the meantime, it’s worth knowing that Joan Collins remains a big fan of HRT, and in 2023, she said in an interview that she had used HRT for 20 years. ‘Do think about hormone replacement therapy when the time comes,’ she advised women. ‘Did it work for me? Er, hellooo…’
Like I said, razor sharp.

EVENT UPDATE : DYNASTY & DESIGN GALA .. PUTNAM MUSEUM & SCIENCE CENTER .. DAVENPORT IOWA .. NOVEMBER 14TH 2026 ..

 

Joan with Rene Horsch

New “Dynasty & Design” gala at Putnam coming Nov. 14

WVIK, Quad Cities NPR | By Jonathan Turner..

The Quad Cities’ version of the Met Gala will take over the Putnam Museum & Science Center Grand Lobby on Saturday, Nov. 14, as a new “Dynasty & Design” gala will raise money for a big fashion exhibit next November.

Michele Darland, Putnam vice president of development, has already sold out the exclusive, 130-guest event at 6:30 p.m. that Saturday, with tickets going for $70 a person; $500 a table, and Champagne VIP Service for $800 (including bottle service, your own server, and a private lounge just for you).

The Putnam is capping admission to the gala, and has sold out the 130 seats it’s offered, likely cutting it off there, she said Friday, Nov. 6.

“We're going for quality, not quantity, and we are at capacity logistically with all of the things we want to do. So we're sold out and we're planning one heck of an event,” Darland said.

“Come dressed as though you own the penthouse, the fashion house and the room,” says the Putnam description of the gala. “Sequins. Statement jewelry. Bold silhouettes. There’s nothing out of bounds and nothing too fierce.”

Guests will help make the Putnam’s 2027 fall fashion exhibition possible. Slated for November 2027 through Valentine’s Day 2028, the Putnam is working to bring dozens of high-fashion textiles, all worn by celebrities like Liz Taylor and Joan Collins and created by designers like Nolan Miller and Mark Zunino.

“The idea started with the fact that we have such an extensive textile repertoire, inventory, that I thought, it can't come out all the time because of dust or light. But it can come out for 90 minutes, and I thought, why not create a club where we can do programming around our textile art, textile collection?” she said Friday.

Michele Darland vice president of development, is organizing the "Dynasty & Design" Gala in the Grand Lobby.

“It's also the groundswell of investment that we're using to start this fashion exhibit for 2027,” Darland said of the planned 2027-28 exhibit. “The Collection Couture members definitely help support the creation and production of this exhibit coming.”

This show will feature 30+ costumes of notable Hollywood actresses and personalities worn either on the set of movies and TV or on the red carpet. This exhibit will show the creativity and strength of women and the designers who clothed them.

Famous Davenport native designer

Darland got the idea for the major exhibit to feature Davenport Central alum Rene Horsch, a 58-year-old fashion designer based in Los Angeles, who first made it big in the ‘80s.

“He went out to L.A., landed with Nolan Miller, and became his assistant,” Darland said, noting the Putnam exhibit will be called “Working the Set, Walking the Red Carpet.” It will feature dresses made famous by TV stars Joan Collins, Linda Evans, Linda Gray and Donna Mills, as well as historic Quad Cities women.

Miller (1933-2012) was a fashion and jewelry designer, best known for costume design on the hit ‘80s series “Dynasty.”

Horsch will be at the Nov. 14 gala, which will be a year before the 2027 fashion exhibit kickoff. “Basically, it's where fashion meets philanthropy,” Darland said.

Angie Sharp will emcee the gala, which will feature an auction of 10 gowns to be part of the exhibit, with winners sponsoring them for the display. They will be featured on mannequins during the gala.

“If you want, if you bid for Linda Evans, you will be acknowledged in the exhibit. So that's how we're raising money for the exhibit, is by a live auction of these dresses,” Darland said. “But you don't get to take them home.”

The gala will feature a DJ playing ‘80s hits, and the atmosphere will be high glamour and camp, she noted.

“We’ll be recreating a dynasty, high drama, high glamour excess of the '80s with shoulder pads and sequins and a red carpet and white leather furniture, specialty cocktails,” Darland said.

“Rene will be greeting guests, and just the gowns themselves are such a gorgeous ornament to the evening. So very curated and elevated, and we have some surprises for the guests. We have actors coming as Joan and Linda, and there's just gonna be camp drama.”

Nolan Miller met future TV impresario Aaron Spelling in an L.A. flower shop in the ‘50s. Spelling (1923-2006) was the producer behind TV hits “Charlie’s Angels,” “The Love Boat,” “Dynasty,” and “Beverly Hills, 90210.”

“And one said to the other, whoever makes it big first brings the other along. And that's why Nolan Miller is the designer for all of Aaron Spelling's shows,” Darland said. “I believe Nolan Miller did not have any children, and he was a relatively young man when he passed, and he bequeathed all of his archives to Mark Zunino.”

Zunino was Miller’s assistant and they worked together on “Dynasty” (1981-1989), which co-starred Collins and Evans.

Horsch is Collins’ top stylist, Darland said. “He and Joan, anytime Joan has something, he travels to Saint-Tropez to prepare her for a photograph, a photography session. He puts up her Christmas tree in LA. So René is Joan's stylist of choice.”

“We’ll be recreating a dynasty, high drama, high glamour excess of the '80s with shoulder pads and sequins and a red carpet and white leather furniture, specialty cocktails,” Darland said.

“Rene will be greeting guests, and just the gowns themselves are such a gorgeous ornament to the evening. So very curated and elevated, and we have some surprises for the guests. We have actors coming as Joan and Linda, and there's just gonna be camp drama.”

Nolan Miller met future TV impresario Aaron Spelling in an L.A. flower shop in the ‘50s. Spelling (1923-2006) was the producer behind TV hits “Charlie’s Angels,” “The Love Boat,” “Dynasty,” and “Beverly Hills, 90210.”

“And one said to the other, whoever makes it big first brings the other along. And that's why Nolan Miller is the designer for all of Aaron Spelling's shows,” Darland said. “I believe Nolan Miller did not have any children, and he was a relatively young man when he passed, and he bequeathed all of his archives to Mark Zunino.”

Zunino was Miller’s assistant and they worked together on “Dynasty” (1981-1989), which co-starred Collins and Evans.

Horsch is Collins’ top stylist, Darland said. “He and Joan, anytime Joan has something, he travels to Saint-Tropez to prepare her for a photograph, a photography session. He puts up her Christmas tree in LA. So René is Joan's stylist of choice.”

“We’ll be recreating a dynasty, high drama, high glamour excess of the '80s with shoulder pads and sequins and a red carpet and white leather furniture, specialty cocktails,” Darland said.

“Rene will be greeting guests, and just the gowns themselves are such a gorgeous ornament to the evening. So very curated and elevated, and we have some surprises for the guests. We have actors coming as Joan and Linda, and there's just gonna be camp drama.”

Nolan Miller met future TV impresario Aaron Spelling in an L.A. flower shop in the ‘50s. Spelling (1923-2006) was the producer behind TV hits “Charlie’s Angels,” “The Love Boat,” “Dynasty,” and “Beverly Hills, 90210.”

“And one said to the other, whoever makes it big first brings the other along. And that's why Nolan Miller is the designer for all of Aaron Spelling's shows,” Darland said. “I believe Nolan Miller did not have any children, and he was a relatively young man when he passed, and he bequeathed all of his archives to Mark Zunino.”

Zunino was Miller’s assistant and they worked together on “Dynasty” (1981-1989), which co-starred Collins and Evans.

Horsch is Collins’ top stylist, Darland said. “He and Joan, anytime Joan has something, he travels to Saint-Tropez to prepare her for a photograph, a photography session. He puts up her Christmas tree in LA. So René is Joan's stylist of choice.”

Joan with Rene & Mark Zunino

The Nov. 14 gala will be unusual for the Putnam to solely focus on fundraising for bringing a world-class exhibit here. “And it’s coming from within our walls,” she said. “We've always had textiles in our exhibits, but this one is solely highlighting our textiles. It's showcasing how lovely and deep our textiles are.”

From the Met Gala (an annual fundraiser for the Metropolitan Museum’s Costume Institute in New York) to big fashion exhibits worldwide, showcasing clothing has become profitable for museums, Darland said.

“They're popping up because they realize that they are attracting an audience that might not come to a museum regularly. But they'll come to see the fashion,” she said. “So research has shown, and this is why I proceeded to present it to Cindy (the Putnam CEO), the admission is bumped up about 30% more, more traffic than general in museums. If you have a fashion exhibit, it should spike 30% more admission.”

“It's a universal interest, whereas someone who might say, oh, history and science, I'm not a fan, but I'll go to see Joan Collins' dress,” Darland said. “If you were a kid growing up, I mean, in the television era, you can relate on the most basic level.”

The Nov. 14 Putnam schedule will be:

• 6:35 p.m. – Cocktails and Hors D’Oeuvres
• 7:30 p.m. – Program
• 8 p.m. – Auction
• 8:30 p.m. – More Cocktails & Carousal

For more information on getting into the gala, you can email mdarland@putnam.org.

EVENT UPDATE : MY DUCHESS OPENING NIGHT REVIEW ... RUSSELL HOBBS BRITISH FILM FESTIVAL .. OCTOBER 28TH 2026 ..

 

My Duchess Rating

★★★★★

Click if you liked this article

My Duchess directed by Mike Newell and starring Joan Collins and Isobella Rossillini opened the Russell Hobbs British Film Festival at the Palace Cinema, Moore Park.

Before the screening we were able to enjoy delightful British fare from Angelwood Pies, live music from string duo Aquila, sparkling, red and wine or mocktail, a delicious sticky toffee pudding of Russell Hobbs and many cinema snacks. Plus, each guest received a special Russell Hobbs festival gift bag with many goodies inside it.

The British Consul General and Deputy Trade Commissioner for Australia and New Zealand, Anna Louise Shotbolt, officially opened the festival with a lovely speech.

We were shown many of the highlighted trailers of other films shown throughout the festival, such as the special presentation film Ink, the centrepiece premiere film Prima Farcie and the closing night film Elsinore. There are so many exciting films to see throughout the festival that runs until December 6th.

The Palace Cinema in Moore Park is a very enchanting venue with extremely spacious and comfortable lounge seating; there really isn’t a bad seat in the house. The staff there are very kind and helpful.

The film My Duchess charts the final years of Wallis Simpson, the American divorcee who became the Duchess of Windsor after marrying the former King Edward VIII, the British King who chose love over duty. It starts off as a typical biopic but quickly grips you into an insane phycological thriller. It is based on true events

The film starts shortly after former King Edward VIII has died and Wallis Simpson is trying to find her way of life after such a tragedy. Luckily, she has a lot of support from close friends and many devoted staff.

 

Wallis is out late one evening with friend, Jean-Claude de Montalbon, and is papped giving charity to some local sex workers. Wallis employs lawyer, Suzanne Blum, to catch the photographer and get rid of the negatives. After that is completed, they talk about doing other business together. Blum is instantly enraptured by Wallis, but Wallis can’t stand her.

Slowly but surely Blum takes every step to take control of all of Wallis’s financial and legal affairs. Unfortunately, Wallis’s health starts to decline, and Blum uses this to isolate her from her friends and the loyal staff she has. It gets far worse and a surprise ending but I don’t want to spoil the film for those who plan to see it.

Joan Collins got the idea for this film about 30 years ago when she met the former King Edward VIII and Wallis Simpson’s former valet, Sydney Johnson, at the Hotel Ritz Paris. She has stated, “I’ve always been fascinated by Wallis, because I think she was unfairly treated.”

This determination proves good things come to those who wait as she delivers a career defining performance. For someone who is known for glitz and glamour, that is very much removed as the film goes on. The true fear portrayed in the later parts of the film make you catch your breath. Isobella Rossillini’s portrayal of the sinister Blum is scary. Her drive for power and control is not to be reckoned with. The rest of the supporting cast are fabulously cast and the performances of Buom Tihngang, Laurent Lafitte and Roxane Duran deserve a special mention.

The pace of the film is well timed and has you gripping the edge of your seat. This is well worth seeing on the big screen as every frame is fabulously shot.

To book tickets to My Duchess, please visit https://britishfilmfestival.com.au/films/bff26-my-duchess.

EVENT UPDATE : CABS FOR VETERANS PROMOTION.. CLARIDGES LONDON.. OCTOBER 30TH 2026 ..

 Joan made a trip to Claridge's by black cab to promote Cabs For Veterans which was set up in 2009 to provide a service which aids veterans to attend Whitehall for Remembrance Day Services.. 

Joan commented...

“Cabs for Veterans is an incredibly heart-warming effort coordinated by independent cabbies across London who give their time and money to ferry veterans on Remembrance Day to the Cenotaph so they can honour their fallen comrades, who gave their lives for the freedoms we enjoy today.

“I support Cabs for Veterans and London Taxis in their efforts and applaud this poignant campaign.”

Joan with can driver Lisa Nancarrow

London taxis take veterans from all mainline terminal stations to and from Whitehall for Remembrance Sunday service. The service is provided by the drivers and helpers in their own time and with their own money.

There is only minimal direction with no financial help from Royal British Legion, Transport for London or any other outside organisation. Drivers do this as our way of saying Thank You to all the members of the various branches of the armed service, their anciliary support services, and their families. We know just how important the memories they bring and also make on Remembrance Sunday are to them.

All London taxis are wheelchair accessible. That means that all those going to the annual service and parade csn be assured of getting a taxi that is right for their particular needs. Indeed that knowledge is part of the process that allows them to book their place at the event without worry.

PRESS UPDATE : MY DUCHESS FILM REVIEW ... RUSSELL HOBBS BRITISH FILM FESTIVAL ... OCTOBER 29TH 2026 ..

 

Film Review: My Duchess 2026 Russell Hobbs British Film Festival

October 29, 2026

•

Ronson Blake

★★★☆☆

Ah, the royals; they really are the gift that keeps on giving. So many millions of pages, billions of bytes, bloviation and bollocks. For every small, incisive examination, so much dire drivel. Wading into this milieu come director Mike Newell and screenwriter Louise Fennell, bringing something unexpectedly quite interesting.  

My Duchess is the story of the latter years of the Duchess of Windsor and American divorcée Wallis Simpson (Dame Joan Collins), bereaved wife of Edward VIII who, in the midst of a constitutional crisis, abdicated the English throne. For love. Set between 1972, immediately following Edward’s death, and 1978, My Duchess means to show us the woman behind the wealth and privilege.

Following some helpful newsreel backgrounding, the film opens in a tacky 1970s Paris nightclub, Chez Chou Chou, where a drag show featuring a Duchess of Windsor lookalike is playing. Watching from the audience are Wallis and good friend Laurent Lafitte (endearingly portrayed by Jean-Claude De Montalbon).

This setup could be taken as a provocation, but the screenplay imagines Wallis having a sympathetic conversation with her doppelgänger. It’s a fascinating introduction that reveals much about Wallis’ character.   

Newly widowed, Wallis is holed up in Paris, ostracised by the royal family, and under siege from the English press. Increasingly frail but retaining her famed glamour and wit, Wallis hires a lawyer, Maître Suzanne Blum (Isabella Rossellini), to fix a PR problem.

What begins as a friendly relationship becomes a nightmare of coercion, as Blum slowly asserts control over every facet of Wallis’ life. The travails of Harry and Meghan are hyperbolic trifles in comparison. 

My Duchess is apparently something of a personal project for Collins, who sees in Wallis’ persecution by the press some similarities with her own career. And indeed, Collins gives a fine performance, capturing the glamour and self-possession, if not all the haughtiness of Wallis. It’s a very humanising portrayal, especially in the later scenes where Collins eschews makeup and gives us advanced old age, liver spots and all. 

Rossellini, while clearly the bad guy here, nevertheless provides some lovely nuance to Blum, noticeably her sad domestic life. Blum’s husband, openly and patronisingly, has a mistress he loves. Blum craves that same love but, unable to have it, substitutes her need with control.

Blum bristles at Wallis’ dismissive shallowness while still desiring that which she can never acquire – wealth and love. Obsession becomes possession. Incrementally, Blum’s severe, masculine appearance softens as she appropriates a little of Wallis’ overt femininity and most of her freedom.

For all its exploration of Wallis as a mere mortal subjected to disgraceful elder abuse, something in this film grates. Well, a couple of things. The first is tone. Newell can’t seem to settle on what sort of film My Duchess wants to be: A drawing room drama, a psychological thriller or a full-tilt gothic horror.

Mike Eley’s cinematography heightens the horror element with shallow focus, extreme close-ups, and shadow effects. In fact, the final scenes look more in place down the M4 at Hammer Horror rather than Ealing Studios.

The effect of this falls unfairly on Rossellini, who is terrific in the small moments but at times seems unsure how to position Blum, with pantomime villain a live option. I don’t mind OTT, as long as it’s consistent. Rossellini is a wonderful actor and deserved that consistency from writer and director.

Then there is the elephant in the room – Edward and Wallis’ fascist sympathies. And the elephant is actually mentioned – by name! – in a very brief discussion between Wallis and her neighbour Lady Mosely (Miranda Richardson, underused), an unapologetic fascist and friend of Hitler.

This matters, not least because Blum herself was Jewish. And the film isn’t hiding it – even placing a menorah on Blum’ desk. If Blum’s Jewishness is important context, it’s not pursued; we only get a glimpse of the elephant’s left foot. I understand this film’s focus is elsewhere, but still. A hagiography is as bad as a hatchet job.

Production design by Gemma Jackson is gorgeous. Sandy Powell and Charlotte Law have a ball with costumes. There is some terrific acting, including a delicious turn from Charles Dance as a condescending Lord Mountbatten.

Buom Tihngang is wonderful as Louis, Wallis’ loyal footman who, in a delightful scene, classily slaps down Mountbatten’s avarice. Yves Heck conveys long-serving butler Antoine’s doomed balance of survival with grace. 

My Duchess is an interesting portrait of an endearingly uncompromising woman, occasionally her own worst enemy, whose privilege was powerless in the face of cruel, obsessive psychopathy. In the hands of Dame Joan Collins, Wallis Simpson’s last years make for poignant, if frustrating, viewing.

The Russell Hobbs British Film Festival is on now in Sydney, Melbourne, Ballarat, Byron Bay, Canberra and Adelaide Brisbane. It opens Thursday 5 November in Perth.

Tickets are on sale now at the website.

Tickets for My Duchess: https://britishfilmfestival.com.au/films/bff26-my-duchess

Website: https://britishfilmfestival.com.au/

Socials: https://www.instagram.com/britishfilmfest/

EVENT UPDATE : CLARIDGES QUEEN OF HOTELS BOOK LAUNCH ... CLARIDGES LONDON.. OCTOBER 14TH 2026 ..

Joan & Percy with David Downton    (c)  Dave Benett

Joan enjoyed an evening at her favourite London 'Home Away From Home' Claridge's for the launch of the authorised biography of the iconic hotel.

Claridge's Queen of Hotels - Hotel of Kings by Martin Williams is out now..

THE AUTHORISED BIOGRAPHY OF CLARIDGE'S:

QUEEN OF HOTELS, HOTEL OF KINGS

'Claridge's is my home away from home.' Dame Joan Collins
'Claridge's, Claridge's, Claridge's! THE very best of the best of the BEST!' Richard E. Grant
'To wake up at Claridge's is to wake up invincible.' Alex James
'Always enchanting, curious, warm and up for fun, like the great aunt you wish you had, Claridge's is an absolute institution.' Sophie Dahl

There is no hotel in the world quite like Claridge's. A byword for luxury, exclusivity and grandeur, it has, from its inception in 1812, showcased the finest traditions of British hospitality while continually demonstrating a flair for innovation and renewal.

In this official biography historian Martin Williams invites readers to check in at the world's most storied hotel and immerse themselves in its colourful past - from its origins as Mivart's Hotel in the early nineteenth century, through two world wars and a century of radical change, to the modern day. He evokes the glamour and drama of each chapter in Claridge's unfolding story, taking us behind the scenes while bringing to life the extraordinary cast of crowned heads, film stars, politicians and celebrities who have made it their home.

Claridge's: Queen of Hotels, Hotel of Kings is a lavish book for a lavish hotel - a British institution thrown open for all to explore.

EVENT ALERT : MY DUCHESS ... RUSSELL HOBBS BRITISH FILM FESTIVAL 2026 .. AUSTRALIA ..

One of the highlights of the 2026 Russell Hobbs British Film Festival is the premiere screening of My Duchess starring Joan as The Duchess of Windsor along with Isabella Rossellini for the Australian market..

There will be an opening night reception on Oct 29th at Palace Barracks Brisbane, with other screenings on Oct 29th at Palace James St Cinema.. 

You can also catch an opening night screening on Oct 28th at Palace Regent Cinema Balart.. 

You can book for all screenings at the below link...

MY DUCHESS SCREENING AT BRITISH FILM FESTIVAL 2026..

TV UPDATE : THIS MORNING .. OCTOBER 7TH 2026 ..

 

Joan made an appearance on This Morning earlier to promote Shooting Star Children's Charities new podcast 'Shooting Star - Unwrapped' and to highlight the importance of the charity to enhance the lives of many ill children who benefit from their tireless work.

You can watch the interview above and listen to Joan's edition of the podcast below..

SHOOTING STAR UNWRAPPED - DAME JOAN COLLINS

PRESS UPDATE : THE SPECTATOR .. SEPTEMBER 18TH 2026 ..

 

Dolly Par­ton’s mar­riage advice

Iwill miss Dolly Par­ton; one who truly deserves the title of ‘icon’. I met her a few times but the most mem­or­able was in 1984 when I atten­ded the premiere of her movie Rhinestone. I went by myself, which is unusual for me, but I had just told my then hus­band that I wanted a divorce after years of misery and verbal abuse. Dur­ing the red-car­pet ‘trek’ and photo shoot, Dolly noticed I looked a bit tear-stained and asked me if I was OK. When I told her that, des­pite being so unhap­pily mar­ried, it was still hard to adjust to life by myself, Dolly pat­ted me on the shoulder and quipped: ‘Don’t worry, honey, hus­bands are like buses. If you wait long enough another one will come along.’ Dear Dolly, so wise. And in my case, so right.

As this long hot sum­mer comes to a rainy end, I think back to those dog days when even walk­ing brought on a Vic­torian swoon. We were in our house in the south of France for the hor­rible heat of July and August. Dur­ing these months, we had clev­erly invited approx­im­ately 30 or so fam­ily, friends and busi­ness acquaint­ances either to stay for a few days or to visit for lunch or din­ner. We love them all, but after eight solid weeks of break­fast, lunch and din­ner sit-downs, small talk and gos­sip, our heads were swim­ming. Besides, the sound of the cica­das rub­bing their hands together almost drowned out all con­ver­sa­tion, so the phrase ‘What did you say?’ was my most fre­quent con­tri­bu­tion to the pro­ceed­ings. It took a good two weeks to recover, not least from the extreme heat, which frankly I’m not accus­tomed to. Friends say to me: ‘Oh, but you’ve lived in LA for so many years, surely you must be used to the heat?’ The main dif­fer­ence this sum­mer was the tax­ing humid­ity, which saps one’s breath. The con­tin­ental heat we have been exper­i­en­cing is quite unlike the dry Cali­for­nia heat.

Another great icon who just died was Gloria Steinem. Ms Steinem was the lead­ing light of my gen­er­a­tion for women’s rights. She revealed the double stand­ard to which so many women were exposed in the mid-20th cen­tury and made head­lines by going under­cover as a Play­boy ‘bunny’ into Hugh Hefner’s fabled club. His magazine was the ulti­mate guide to exhib­it­ing women in sexu­ally expli­cit pictori­als. ‘Ah, but!’ I hear you say. ‘You, Joan Collins, posed for Play­boy your­self, did you not?’ Yes, I admit I did. But I had com­plete con­trol of the con­tent, I was pho­to­graphed by the legendary George Hur­rell and I was paid a huge amount of money.

For me, com­ing from a gen­er­a­tion of act­resses who were expec­ted to pose for pin-up pho­tos, Gloria’s essay about her time at the Play­boy man­sion and the sexual demands made of the bun­nies, which skir­ted the edge of the law, was a rev­el­a­tion to such a degree that Hefner changed their work­ing con­di­tions. Gloria went on to become a beacon of enlight­en­ment for women’s rights and never ceased to voice how women were used and abused by men. Women today owe Gloria Steinem so much.

I used to love trav­el­ling by plane and I would be filled with excite­ment and anti­cip­a­tion before a trip. Not any more. Today plane travel is hell – even to the con­tin­ent, which used to be so easy. Our last trip from Nice to Heath­row took ten hours, thanks to flight delays, air traffic con­trol­ler issues, red tape and the end­less queues at immig­ra­tion. ‘Take off your hat, your sunglasses, your jew­ellery, your shoes, your coat.’ I half-expec­ted a Peter Sellers Pink Pan­ther moment, where the per­son demand­ing these items would then take them and saunter away with a cheery wave and a ‘thank you’.

And after the Via Cru­cis of secur­ity comes the new cus­toms and immig­ra­tion palaver. Bad enough that you had to have a photo taken sans maquil­lage and with the flush of hav­ing to take off the above ref­er­enced items and put them back on in a hurry because the per­son behind you is breath­ing down your neck. Now you also have to place your fin­gers on an undoubtedly slimy green pad which always gives you a red ‘error’ sig­nal on one of the fin­gers, no mat­ter how much you adjust your hand pres­sure. Not only is this required on arrival, but also on depar­ture. At least in Amer­ica they only do it when you arrive. They couldn’t care less who you are or where you’re going when you leave.