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The Costume Institute at the Metropolitan Museum is home to over 33,000 objects dating all the way back to the 15th century, and that makes the collections department there a veritable Aladdin’s Cave of fashion history. The space itself looks like a laboratory all gleaming white surfaces and gigantic vaults about as far removed from the fusty museum office cliche as you can get. “Well, I’m in heaven,” says designer Claire Sullivan, as we pore over a table that’s dripping with vintage Chanel: the most perfect ribbed tank top embroidered with interlocking CCs, a delicate ankle-length tulle skirt, chunky black and gold jewelry, and spiffy black and white brogues.
Other notable mentions from the results: Gigi Hadid in a black sheer corset gown by Matthew M. Williams at Givenchy; Rihanna in a cocoon-like, bridal-inspired look by Valentino; Bad Bunny in a pristine white backless suit and 26-foot train by Jacquemus. Publicly, Lagerfeld almost exclusively wore black and white during the height of his fame. The same color palette frequently appeared on the Chanel runways as well so it makes sense, in a way, that the public would land with either all-black or all-white looks. The shades are timeless, much like Lagerfeld’s designs.
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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