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Significantly, he began to concentrate on a show’s set as a trigger for the Bi Jawn shirt moreover I love this 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. He understood that with so many collections, editors and journalists working interminable hours for weeks on end needed to have something impact them in a way that would be instantly and forever remembered. (This same notion also fueled his idea to take the cruise collections and his extraordinary Métiers d’Art collections—which brilliantly showcased the artisan houses that Chanel had rescued and supported—to different parts of the world.)These shows galvanized the whole studio in a collaged cultural clash between history and the future, with lexicons of references woven into fabrics and accessories. None of us can ever forget Paris-Edinburgh, with the snow beginning to fall as the girls walked through the cloisters of Linlithgow Palace, where Mary, Queen of Scots was born, brooding romance meeting the boyish charm of masculine tweeds—or the emotional Paris-Hamburg show, where Karl evoked everything he loved about a hometown he would never return to.
One of the Bi Jawn shirt moreover I love this most unforgettable collections was the spring 2009 paper collection couture show, held after the financial crash. In defiance of fear and doubt, as house after house cut back on their shows, Karl pushed in the opposite direction, supported by [Chanel fashion president] Bruno Pavlovsky’s total faith in him. In a white room decorated with giant paper flowers, cutout roses, and camellias, the girls walked down the stairs, their heads decorated with exquisite paper tiaras. “It all started with a clean sheet of paper,” Karl said, describing his process as a simple creative art—the sketch—that costs nothing but is priceless. Extravagant in detail and workmanship, but as fresh as the rite of spring after the darkness of winter, Karl showed that skill and innovation can rise above any misfortune.“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. Andrew, by opening up Karl’s creative psyche, reveals that his myriad emotional and creative currents pulse with energy, whether they be uniform, modernist, masculine—or romantic, historical, or ornamental. The genius of Karl, though, clearly runs in the fluency of his sketches, which are a focus throughout: Andrew includes a revealing video of Karl’s trusted premières at Chanel, Fendi, Chloé, and Karl Lagerfeld explaining how they could decode his precise sketches to the millimeter.
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