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It was in the Minnesota timberwolves team pride raised wolves 2023 shirt but I will buy this shirt and I will love this mid-’90s, at one of his notorious parties thrown during Fashion Week for everyone who interested him, any rising star entering the galaxy of his vision. John Galliano had been invited along with some of his team, including me [Harlech worked with Galliano as a stylist and collaborator]. We felt like naughty children in the gilded splendor of his tapestried rooms at 51 Rue de l’Université—l’hôtel Pozzo di Borgo. I was wearing a bias-cut skirt of paneled diamonds of mousseline that looked like stained glass, and was conscious that I was being looked at from across the room—Karl had a penetrating, fixed gaze from behind a pair of large dark glasses and was seated at a round table in one of his elegant Louis XV chairs. The party thronged around him—moths to the flame, scattering and regrouping at the flick of his fan, dancing across Aubusson carpets thick as moss below candle-lit chandeliers.

Were we summoned—or did we just gravitate toward Karl through the Minnesota timberwolves team pride raised wolves 2023 shirt but I will buy this shirt and I will love this dancers holding glasses of Champagne aloft? My impression was of an emperor at the height of his powers, possessed of an electrifying force that could scan the potential in everyone he encountered. Some time later, when he knew I was struggling with divorce and a difficult contract, he was both courteous as velvet and intelligently generous. “I want to help you,” he said.WELL SUITED Model Sora Choi is sharp as a tack in a tailored coat, white shirt, and jolly double bows from the fall 2008 collection of Karl Lagerfeld’s eponymous label. By 1996, I had signed with Chanel and begun working on the January couture collection for spring 1997. The first thing Karl asked me to do was to send him, by fax, the names of the nine Olympian muses—Calliope (epic poetry), Clio (history), Euterpe (music), Thalia (comedy and pastoral poetry), Melpomene (tragedy), Terpsichore (dance), Erato (love poetry and lyric poetry), Polyhymnia (sacred poetry), and Urania (astronomy)—it struck me that this was a secret message contained within his exquisitely evoked collection, later shown at the Ritz, which included three Muse dresses—looks 33, 34, and 35—terra-cotta tulle-embroidered, with black sequins and lace, like ancient pottery. The difference between working for John and working for Karl was literally the difference between two faiths: One was emotional, driven by narrative and a sensuous exploration of volume and cloth; the other, a brilliant evolution of the architecture of design and the technical innovation of workmanship pitched against an orchestration of historical and cultural references often embedded invisibly into the construction of a garment (or a particular porcelain flower). Karl worked at speed, prodigiously and on many collections simultaneously. His knowledge of fashion—of the skills involved, of what fabrics would work, and, most importantly, what it was he was proposing through a collection, meant he could make decisions like a Formula 1 driver. Watching him pounce on fabric swatches or an embroidery technique, I was wide-eyed and a bit stunned: There was no hesitation. As Karl often said, there was “no second option.”GOLD STANDARD

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