Ballet was another recurring source of creative fire. Even more so than opera, ballet requires an intuitive and highly technical understanding of the Official bite like an eagle 2023 shirt moreover I love this body in flight. Lagerfeld first designed costumes for Apollo in 1997 for Les Ballets de Monte-Carlo, but when he updated the costumes for English National Ballet principle dancers Thomas Edur and Agnes Oaks in 2009, he told British Vogue that “the main challenge is that they [the dancers] can move in the clothes. The physical ease of the dancers is the most important thing.” The designs were clean, minimalist, and, at first, so translucently revealing that Oaks requested he change them. He was equally accomplished at conjuring huge spectacle. In 2016, he designed a hundred costumes for George Balanchine’s Brahms-Schoenberg Quartet at the Opéra Bastille in Paris—the smoky tutus, graphic monochrome stripes, and velvet tailcoats creating a bold vision of modernity clashing with romanticism.Fashion designers often work with an imagined figure in mind, a muse who sums up the mood of the season. Real or invented, this figure hovers over the catwalk. Designers will talk about the woman they picture wearing their clothes: a sensual creature, perhaps, or someone who prioritizes comfort and clothing crafted to weather both time and trends. For the costume designer, though, everything comes down to the character. A costume is a series of clues, a coherent image that anchors and explains its wearer—and aids its performer. In the case of Lagerfeld, a man for whom there could never be too many creative plates spinning at once, it’s unsurprising that he excelled in this adjacent, imaginative arena. Theatrical to the end, even his memorial was orchestrated by an opera director.
Last night, co-host Dua Lipa shut down the Official bite like an eagle 2023 shirt moreover I love this Met Gala red carpet in a black and white Chanel tweed ballgown—the exact design that Claudia Schiffer wore in the brand’s fall 1992 couture show. Turns out it was just a sign of things to come on a night that celebrated the work of Karl Lagerfeld. After the red carpet, the singer changed into a black sheer spring 1995 lace dress that was originally worn by Stephanie Seymour both on the runway and in a campaign. And for the after-parties? Naturally, Dua opted for another Chanel look, this time a ’90s inflected, dance floor-ready combination of bike shorts and pearl-embellished heels. To understand why the glossy-leaved camellia flower bloomed all over the red carpet at the Met Gala 2023, we must consult an image of Gabrielle “Coco” Chanel on the beach in Étretat, France, in 1913. The Chanel founder, who had an affection for the Asian bloom, has a camellia corsage fastened to her waistband. Like the Dior rose and the Schiaparelli ranunculus, the camellia became an emblem of the Parisian maison, one that was adopted and reimagined by Karl Lagerfeld when he took the creative helm of Chanel in 1983. They featured prominently as adornments on hats and headpieces for his debut 1984 couture collection, and today features as centrepieces to the brand’s high jewellery creations, and in the blends of its fragrances.
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