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The change of scale from outsize to human-size, and of venue, professional (the Official new york Americans hockey 2012 2025 shirt besides I will buy this 7L studio) to personal, right at the get-go, hints at the explicit and existential queries posed in the exhibition, namely: How do you go about understanding someone? And is it really possible to ever know another person? Bolton is confident that we can access the essential truths about another human: “I think you can know someone through their working methodology,” he said on a walkthrough yesterday. And what better way to get to know a workaholic (which Lagerfeld was), than through their output? Things become trickier when trying to detangle the work from its creator, though. “I don’t believe you can separate the man from the work,” notes Bolton continues, “but who was that man?”Lagerfeld was indisputably a man of culture and a master of communication. Born (in 1933) into an era of science and mass production, he had a predilection for the Age of Enlightenment (he referred to the 18th century as his “spine”), yet he also seamlessly adapted to the digital era. He had many fluencies; in addition to speaking three languages, he internalized the long list of Chanelisms (camellias, quilting, tweed, pearls, etc) and created an alphabet in the form of a double-F logo for Fendi. And that’s not all: Bolton sees drawing as Lagerfeld’s most essential, intimate, and personal form of self-expression. To stress the importance of drawing in Lagerfeld’s work, whenever possible, the garment is shown with the sketch from which it was born.If Lagerfeld were a superhero, his “quirk” or special and distinguishing characteristic, would be his ability to exist across dimensions. Paper was the designer’s favorite material, the canvas, as it were, for two-dimensional drawings that the studio premieres would read and translate into three-dimensional garments. Many designers sketch as part of their process, notes Bolton, but Karl said, “‘When I draw, I see [the design] three-dimensionally.’” It’s the combination of the technical drawing with expressionistic fashion illustration that makes the difference. Normally sketching is a means to an end, but with Karl, it was an end itself.” Lagerfeld’s drawings offered information and attitude; they captured the specifics and the aura of a design.In 2021’s “In America: A Lexicon of Fashion,” Bolton set about creating an emotive language for U.S. fashion design; in “Karl Lagerfeld: A Line of Beauty,” he employs the William Hogarth’s 19th-century treatise The Analysis of Beauty to assign forms to the designer’s signature dichotomy; the push and pull (and sometimes synergy), the curator says, between Lagerfeld’s “Teutonic/German side and the French side”—his head and heart, in other words. Bolton writes in the catalog: “For Hogarth, S-shaped curved lines represented liveliness and movement in contradistinction to straight lines, which signified stillness, inactivity, and even death.” And beauty, the artist believed, was to be found in the former, serpentine line.Curved and straight lines also form the shapes of letters, words, and sentences, which bring ideas and stories alive in the minds of readers and listeners. Lagerfeld, with his solid understanding of construction, used both curved and straight lines, which happen to loosely correspond to the main binary of the couture: flou and tailoring (soft and hard).

Tadao Ando’s exhibition design carries through on the Official new york Americans hockey 2012 2025 shirt besides I will buy this theme, contrasting straight and rounded shapes throughout the space. From the “foyer,” featuring the video and the desk, visitors enter a room that features the premieres who worked so closely with Lagerfeld. This is the only room where the garments are separated by brand, the following 10 sections trace overarching themes in Lagerfeld’s work.Nine rooms are devoted to the dichotomies of his oeuvre; in the center of each, set up high and apart is a single look, dubbed an “explosion,” in which opposing forces are joined. The first room contrasts the feminine and masculine elements, across brands. Some of the pairings, such as floral/geometric  and figurative/abstract are concerned with decorative elements. Other, which speak more directly to Lagerfeld’s boundless curiosity and engagement with popular culture, deal with broader concepts, contrasting the historical and  futuristic, or artisanal and  mechanical.

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