What brief did you acquire from the museum?
To remain legitimate to my own fashion. Andrew Bolton was quite open up and required to hear my opinion and solution to the task. He was just fantastic to function with, so which include and inspiring. He reached out to me at an early stage of the venture, and that made it feasible for attention-grabbing conversations. Owning the time for analysis and contemplation in a undertaking is well worth so considerably these days. I worth it deeply.
What type of investigate did you do?
I tried out to recognize wherever Karl’s possess inspiration arrived from: textbooks he browse, art he liked. I watched the movies he liked, outdated expressionism and black-and-white horror and vampire movies like The Cabinet of Dr. Caligari and Dracula. It gave me perception into his desire in shadows and mild. I watched documentaries. Amanda Harlech was also so generous with her understanding of Karl and shared particular anecdotes and data. And I tried out to type my very own plan of who he was from what he was motivated by.
Andrew writes that you approached the lights of the catalog photographs in diverse approaches. Can you elaborate on what they had been and how you made a decision which to use?
I aimed for a painterly gentle to make the garments become like sculptures and seize the wonderful aspects. I photographed the mannequins in sequences to make different plates to get all the facts for facts. I also preferred to engage in with shadows in black and white in some of the pictures because I felt that was an significant inspiration from Karl Lagerfeld.
Can you converse a bit about your use of curtains?
I had found these curtains in Karl Lagerfeld’s possess dwelling exterior Paris, and I required to bring personal factors linked again to Karl’s own daily life, so I imagined the curtains could work as a wonderful backdrop. I was so joyful that Andrew Bolton favored the notion and designed it feasible.
Stillness is just one facet of your work. These mannequins remind me of the Swedish Grace period of time, Orrefors figure engravings, and Millesgården a little bit. They also feel to job serenity. What did they evoke for you?
The mannequins felt like timeless sculptures to me.
What’s your possess partnership with fashion/clothing?
I have constantly been incredibly fascinated in apparel. It can be a way to current you. I am not tremendous intrigued in trends, but I grew up in the ’70s, and glitter and glamour weren’t truly permitted possibly that’s why elegance and gorgeous clothes are so captivating to me. It was wonderful to shell out weeks at the Costume Institute at The Satisfied. Observing the garments and the care and respect everybody experienced for them, the atelier where by factors get restored, and the beautiful library. I like the idea of taking garments significantly.
What shocked you, or what did you find out, when taking pictures these items?
I was amazed by the selection of items from Karl’s collections above the yrs. I have such regard for his entire body of perform. And I was also so amazed by Andrew Bolton’s information. He knows all the info in depth about the garments, and I discovered a lot from him.
Previous Grasp portraits have impressed some of your do the job. Do you sense that the images you have taken for The Achieved in some way are a portrait of Lagerfeld?
That was my purpose, to seize Lagerfeld’s work as a portrait: to use inspiration from his existence [and] experimental methods he would have favored, these kinds of as solarization and shadows of the mannequins. [I also used] particular belongings—such as his gloves, jewelry, and fan—as an homage.
