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As you can imagine, the policy here is look, but please don’t touch. Our Costume Institute guide, Tracy Yoshimura, is wearing pristine white gloves and here to help Sullivan get a closer look at the exquisite construction of this and several other items of clothing designed by the late Karl Lagerfeld. A ball skirt and crop top from Chanel’s 1999 spring couture collection will ultimately inspire the Sullivan-designed outfit I will wear to the Met Gala in just a couple weeks as the editor of Alibashirt.com. This year is in celebration of “Karl Lagerfeld: A Line of Beauty,” the institute’s latest exhibition, and the dress code in honor of Karl speaks for itself. “Going through the collections online, it was a difficult selection to make because there are so many incredible pieces,” says Sullivan who, in addition to the archive Chanel, has picked out a gently padded black Chloe dress from Lagerfeld’s 1970s era at the house for inspiration. “I wanted to nail a few different Karl signatures.”
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.
Readers could vote on our slideshow of all the looks at the Met Gala. There was one clear winner: Cardi B. The rapper took the lead, with over 12,000 voters, for the night’s most “on theme” outfit. In second place, Anne Hathway. The actor turned to Versace to craft a dress that equally paid homage to “90s supers” and blended the signature codes of Chanel and the Italian house. In third place, Jenna Ortega and her tweed-heavy Thom Browne ensemble. The look appeared to be a vamp goth version of Lagerfeld, donning platform oxfords, a structured corsetcum-blazer, and sheer knee-highs. It was a look the late designer would have been proud of: a playful, high-femme spin on gender codes.
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