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Fun, Fendi but hopefully no wool, the 65-year work of the late fashion designer Karl Lagerfeld next spring the subject of a blockbuster exhibition at the Metropolitan Museum in New York, as well as the benefit of the celebration – or Met Gala – in May.
Anna Wintour, the editor of US Vogue and the exhibition’s honorary curator, said at a press conference in Paris that Lagerfeld had come up with the idea in 2015. He said it will be after his death in 2019.
Describing the designer as a friend, business king, intellectual and “the most well-read person I’ve ever met,” she said, “Carl’s clothes better be shocked to see them in the museum.”
“He hates the idea of standing in fashion to admire a backward glance.”
Originally scheduled for 2021, the event has been postponed due to the Covid pandemic.
The exhibition’s full title, Karl Lagerfeld: A Line of Beauty, is named after Hogarth’s 1753 concept of beauty as described in The Analysis of Beauty, and focuses on transforming Lagerfeld’s 2D designs into 3D garments.
More than 150 clothes will be on display, he will carry out his designer career as the creative director of Chloé, Fendi, Chanel, Karl Lagerfeld label and Balmain and Patou.
The exhibition will be based on two aesthetic lines – one straight, one serpentine – culminating in 10 looks based on Lagerfeld’s whimsical look.
The outfit can be identified by its black and white uniform and carries an aphorism or catchphrase, often including the catchphrase “sweatpants are a sign of defeat”.
At the time of his death, Lagerfeld was the creative director of three labels – Chanel, Fendi and his name. But his fans (“trendy is the last step before tacky”) and his cat (Chopte) show that the designer’s influence extends far beyond Cathy Walk and shows the way fashion has permeated the wider culture. Perhaps if not designed by Lagerfeld, the clothes at the gala will nod until the tent arrives.
Rarely seen without mercurial sunglasses, high-collared Hilditch and button-down shirts, driving gloves, his beloved Diet Coke and distinctive snow-white ponytail, Lagerfeld was that rarity – a designer as famous as the men who wore them.
“He was the Hitchcock of fashion,” said Andrew Bolton, head of the Costume Institute. “There was always Carl’s representation on the runway.”
His trademark image, famous as a seal, will be seen in some form on the red carpet in May.
Among the famous hosts (which last year included poet Amanda Gorman and Harry Styles before that) was Pharrell Williams, who regularly wore Lagerfeld’s Chanel to public events. “I first heard of Chanel in the ’90s through Notorious Big,” the musician said in a press release. ” forgive me [saying] It is, but I associate Carl with Chanel much more than Gabriel [Bonheur “Coco” Chanel].
I feel so lucky to have seen him. There are no words.
This is the third time the Met has organized an exhibition focused on the designer, following Alexander McQueen (who died in 2010) in 2011 and Rei Kawakubo, the founder of Japan’s Comme des Garçons, in 2017.
Bolton agreed with Wintour that Lagerfeld is 100% sold on his ideas and tirelessly told me that fashion is not art and that fashion should not be presented in a museum, but described the exhibition as more than an essay. Going back. “We knew he would rather look forward than look back,” he said.
The theme is not a complete departure from last year’s controversial “out of touch” which explored the timing of the pandemic with the global economic crisis. Lagerfeld’s creations, boucles d’oreilles and super-sized pearls at Chanel, faux fur at Chloe, worn with everything from skirts to bags, and gowns adorned with archi-bucolic motifs, not to mention the double C logo, regularly go for four figures.
And the designer is not without controversy. In a book after losing more than 90 pounds on a strict diet, he famously described Adele as “a little too fat” and sparked outrage in 2017 when he invoked German Chancellor Angela Merkel’s immigration policy in reference to the Holocaust.
It would be a shame to ignore Lagerfeld’s relationship with fur, which began with Fendi in the late 1960s. “it is [complicated]” said Bolton. “We don’t collect hair anymore, we only have historical pieces, but they were part of his legacy, so we’re including some pieces. I don’t believe in censoring history, I believe in decontextualizing it.
“I want to meet Peta so they know what we’re doing and what they think. They will have their own opinions.
As for whether we’ll see Fendi fur on the red carpet in May, Bolton replied: “I don’t think we’ll see it at the gala, though.” no way.
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