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The black and white motif of the look, meanwhile, was another thoughtful nod to Karl’s signature color combo. For Senofonte, the end result proved to be the perfect mixture of inspiration, fun, and execution. “I love doing the Met with Kendall,” she says. “It’s always so much fun. She’s so into it this is her Oscars! She loves fashion and trying new things.” The Somali-born model Rawdah Mohamed has made it her mission to make modest dressing more exciting. In the process, she has masterfully chipped away at misguided notions about conservative fashion by showcasing the hijab as a vehicle for personal expression, not repression. While attending the Cannes Film Festival on Thursday, Mohamed turned heads in a Robert Wun couture outfit that was not only an exciting modest gown, but one of the coolest ensembles to walk the red carpet today period. The double-sided satin dress and face-obscuring silk organza veil features trompe l’oeil scorch marks and flame-kissed edges. The ensemble is less run-of-the-mill red carpet attire and more evocative of a horror film heroine at the end of the movie. Wun aptly calls the design, which featured in his spring 2023 Paris Fashion Week show in January, “The Scorched Bride.”
Since then, Kardashian has continued to favor dresses that accentuate the form. In 2019, for the “camp” theme, Kardashian wore a custom Thierry Mugler look made of silk organza and dripping crystals (it was made to mimic the wet shirtdress that Sophia Loren wears in Boy on a Dolphin). Underneath, a Mr. Pearl corset further whittled the waist. In 2021, for “In America: A Lexicon of Fashion,” Kardashian went viral once again: This time for the all-black Balenciaga spandex look she wore on the carpet, which covered her from head to toe.
So it figures that within the new exhibition “Karl Lagerfeld: A Line of Beauty,” inaugurated this week with the annual fashion extravaganza of the Met Gala, a line is the very first thing the visitor sees. Two lines, in fact one straight, one curved each articulated in white lights against a black wall. They nod to the theory developed by William Hogarth in the 18th century that underpins the exhibition: namely, that the perfect form the gentle, graceful arc of the “serpentine line” lays somewhere in between the two.
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