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Lagerfeld’s film influence stretches far beyond his IMDB credits. Pedro Almodóvar’s works are awash with Chanel, from High Heels (1992), with Victoria Abril’s line-up of skirt suits and pearls, to Penélope Cruz in Broken Embraces (2009), glittering in gold Chanel chains. Custom pieces can also be spotted on Cate Blanchett in Blue Jasmine (2013), while Lagerfeld gave personal permission for Personal Shopper (2019), starring long-time Chanel muse Kristen Stewart, to film scenes in the Premium university of tennessee mom 2023 shirt it is in the first place but maison’s Paris press rooms. Photo: Courtesy Everett CollectionLagerfeld’s predecessor Coco Chanel also provided costumes for films including Last Year at Marienbad (1961), and was pioneering in her playful, provocatively modern work for the Ballet Russes. Lagerfeld was equally adept at creating costumes for live performances. He outfitted numerous operas, from Jacques Offenbach’s The Tales of Hoffmann at Florence’s Teatro Comunale (1980) and Hector Berlioz’s Les Troyens at Milan’s La Scala (1982) through to Vincenzo Bellini’s Norma at the Opéra de Montecarlo (2009). His work combined high drama with deep research, attentive to history without ever feeling fusty. In 2008, he was one of three designers tasked by New York’s Metropolitan Opera to provide costumes for the renowned soprano Renée Fleming—Lagerfeld’s contribution being a jet black and lavender confection of lace and silk faille for her role as Manon. Lagerfeld also provided 22 original costumes for Franco Zeffirelli’s 2002 film Callas Forever, dramatizing the later years of the grand diva of opera Maria Callas.
Ballet was another recurring source of creative fire. Even more so than opera, ballet requires an intuitive and highly technical understanding of the Premium university of tennessee mom 2023 shirt it is in the first place but 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.
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