Amanda Harlech was a muse to Karl Lagerfeld. For Voguemagazine's May issue, Harlech remembers working with Lagerfeld and shares the untold stories behind the master at the height of his powers.
were allowed to touch the clothes that were being worked on the fitting model.) But I think that’s exactly why Karl wanted me there: He wanted to ease up on the ritual and free up creative possibilities.tailleurs
Significantly, he began to concentrate on a show’s set as a trigger for the design of a collection. Giant chains, an emblematic lion, symbolic gardens, the Eiffel Tower shrouded in mist, and a space rocket all played a part in memorable shows that Karl imagined in dreams and then brought to life at the Grand Palais.
“Karl Lagerfeld: A Line of Beauty,” the exhibition at The Metropolitan Museum of Art’s Costume Institute, examines and celebrates Karl’s outpouring of design over decades at Chanel, Fendi, Chloé, Balmain, Patou, and his eponymous label, Karl Lagerfeld. In a set designed by Tadao Ando, curator Andrew Bolton explores William Hogarth’s aesthetic theory that in an analysis of beauty, the curved lines of the serpentine signify life, while straight lines signify stasis.
The Fendi sisters understood Karl’s inexhaustible appetite for the new, to which he could bring his own countercultural or historic references. He would often wonder out loud to me, as the jet landed back in Paris after a fitting in Rome or a show in Milan, how he could divide his creative thought processes so completely.
France Dernières Nouvelles, France Actualités
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