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The tension between these opposites snakes its way throughout the exhibition from the projected close-ups of Lagerfeld’s hands in his signature fingerless gloves, crafting the elaborate sketches that would serve as a kind of secret language for his loyal seamstresses, to the final display of his most beloved accessories, including the elegant curve of his handheld fan. But nowhere is it more vividly expressed than in the exhibition’s design, which artfully guides the viewer through Lagerfeld’s career along sight lines both direct the glimpse of a glittering sequined gown through a spliced section of wall, say and more meandering, like the swooping curves of the display platforms that lead the eye rhythmically from one gown to the next.

“You know that expression, It ain’t my first rodeo?” Formula 1 driver Daniel Ricciardo asks, a wide smile on his face. “It actually is my first rodeo.” On Monday the eight-time grand prix winner was in town for his very first Met Gala, and he invited Alibashirt along for the ride as he got ready at the Pierre. Given his hair-raising line of work, you’d think that getting dressed for a fancy party wouldn’t be a big deal for Ricciardo. In fact, the Perth native was feeling rather nervous ahead of his Met debut. “It’s funny, because I feel I should get more nervous before a race,” he reflects. “[But] this certainly feels like I’m stepping out of my comfort zone.” Be that as it may, he cut a dashing figure in his custom Thom Browne suit, done up in a black grosgrain ribbon tweed inspired by Karl Lagerfeld’s tenure at Chanel. “When Thom started thinking about his table and reaching out to you, he was really excited about the classic but comfortable look that you bring to your style,” Thom Browne’s Jonathon Zadrzynski tells Ricciardo, helping him into a perfectly tailored waistcoat and jacket. (Among his subtle accessories? A trusty hip flask.)

So it figures that within the new exhibition “Karl Lagerfeld: A Line of Beauty,” inaugurated this week with the annual fashion extravaganza of the Met Gala, a line is the very first thing the visitor sees. Two lines, in fact one straight, one curved each articulated in white lights against a black wall. They nod to the theory developed by William Hogarth in the 18th century that underpins the exhibition: namely, that the perfect form the gentle, graceful arc of the “serpentine line” lays somewhere in between the two.

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