The 2023 Karl Lagerfeld Met Gala Explained

foreign [Music] mode and today on hotline we are going to be breaking down the history of Carl Lagerfeld Carl Lagerfeld was an icon and an icon is defined as quote a person or thing widely admired especially for having great influence or significance in a particular sphere and whether you like Carl Lagerfeld or not it is undeniable that he held great influence and significance in the particular sphere that is luxury fashion and seeing as the Metropolitan Museum of Arts costume Institute has announced that the 2023 exhibition will be titled Carl Lagerfeld a line of beauty I think we should look at a timeline of lagerfeld's work and influence both in the fashion industry and the other Industries he might have touched along the way as well as his influence on pop culture which obviously stirred up quite a bit of controversy and helped to further fuel his celebrity before we begin discussing Carl lagerfeld's life let's do some quick Met Gala housekeeping firstly the Met gal will be held on Monday May 1st 2023 which is keeping in with its first Monday in May traditional date and the car loggerfeld a line of beauty exhibit will open to the public starting on May 5th in the Mets Tisch gallery and will close out on July 16th 2023. the gala will be hosted by Anna Wintour editor-in-chief of Vogue of course with this year's guest co-hosts including Michaela Cowell Roger Federer Dua Lipa and Penelope Cruz who actually walked in lagerfeld's last show for Chanel and as for the theme of the actual Met Gala which should not be confused with the theme for the actual exhibit it has been set as in honor of Carl and seems to be a way for attendees to pay tribute and homage to the late Carl Lagerfeld and his 60 plus year career in the fashion industry do I expect Katy Perry to show up as a Diet Coke can probably now attend these will be able to pull inspiration from a range of fashion brands like Chanel Fendi Bauman Patu Chloe as well as his own brand Carl Lagerfeld where Carl Lagerfeld worked over his career and between Chanel Chloe and Fendi alone there are decades worth of fashion collections to pursue for reference so now that we've cleared that up let's get into Carl lagerfeld's history so we can actually discuss what we can expect to see on the Met steps and the actual exhibit as well Carl Otto Lagerfeld was born on September 10 1933 although for years his actual birthday was shrouded in mystery which Lagerfeld alleged was due to his mother changing his birth year for her own convenience it was more likely about his own penchant for storytelling and certain associations Carl was born in Hamburg Germany the second largest city in the country and was born to Otto and Elizabeth Lagerfeld Otto Lagerfeld was an entrepreneur who gained an upper middle class status through his work work as an importer of evaporated milk from the United States and later he would form a company named gluxley which was a German version that still exists today his mother Elizabeth tended to the home and was as exacting as many German mothers were Carl's birth year was a rather significant time as in 1933 the Nazi party took power in Germany with swift political movements and totalitarian Authority Adolf Hitler latched onto power and began what would be one of the worst human genocides that the world had ever seen it was a tumultuous time and one that Carl was quote ashamed of as he said in the 1990s to publish her friend Gerhard steidel Carl Austin said that his birthday was September 10 1938 which many believe was an attempt to shave off some years of his life due to vanity but Stylo would go on to say Carl told him quote I was ashamed that I was born in the year when Hitler started his project of killing the Jewish population of Germany and I did not want to be connected to that year but Carl's early years set him aside from the horrors that were going on in Nazi Germany his early these years we're in the wealthy area of blankeness Hamburg by the river and boats but in 1935 Otto moved the family out of the city to the countryside as he foresaw what war could do to the country the Family Estate titled bisenmore was a nice country home with a good amount of land that Otto would turn into a farm with lots of cows which Carl didn't seem to enjoy and this is because as Carl grew into a young boy he was vastly different than the other boys in his little town his behavior to them was odd his manner of dress to them was odd his attitude to them was odd I mean he was well a little gay boy with an exacting personality living in the 1930s Nazi Germany and in nowheresville town and due to his father's constant work travels he remained at home with his mother Elizabeth most of the time she was an intellectual who read voraciously and was a polyglot who invoked a lot into the young Carl but she also could be cruel she didn't like to listen to Children quote Babel and she was quick to pick out flaws about Carl's physical being telling him he should have a certain hanging in front of his nose or that his mahogany colored hair reminded her of an old dresser as for Carl's style even as a child he was well fashionable but just not for bad branstead which is the town that he grew up in he wore tyrolian suits with big bow ties while other boys wore shorts and homemade sweaters which obviously would create a clear distinction the other boys liked to run and jump and climb and Carl liked to read books from his parents abundant collection and draw like the cartoonists and illustrators that excited him and he avoided filth at all costs and the biggest difference especially during the Third Reich was Carl's long black ponytailed hair which was in direct contrast from the crew cut hairstyles of the Hitler Youth which was socially regular at the time at one point a teacher even suggested to his mother Elizabeth that Carl should cut his hair to match the other boys and Elizabeth according to Carl at the very least grabbed the teacher by the tie and asked him what are you still a Nazi but the strangest thing about Carl's assertion here is that German journalist Alphonse Kaiser discovered that Elizabeth was in fact a member of the Nazi party alongside her husband Ada while it was common during this age of German history to join the Nazi party due to agreeing with the ideas of racial Purity or for protecting one's self-interest in a range of sectors whether it's safety or business or a bit of both it's still a very Stark idea for Carl Lagerfeld to be the son of Nazis now for the record Carl was never in the Hitler Youth as the age to sign up for it was 14 and World War II was over by the time that he was 12. although Kaiser did find a photograph of the Lagerfeld raising the Nazi flag at their home of Bison war with the four-year-old Carl Lagerfeld looking on at it so it's undeniable that Carl Lagerfeld was raised by Nazis during the Third Reich surrounded by a horrific war and a holocaust us that was even worse that killed millions and now while it's easy to find fault with Carl on many things I personally can't condemn him for the actions of his parents and his country but also I don't think that it's something that should be hidden away or never discussed ignorance and secrecy is not the answer to those tragedies we must look at them in the face and acknowledge their presence always when the war was over the loggerfields weren't particularly affected by it all that much as Carl moved out of his childhood and into his teens he increasingly became inspired by his parents still extensive library and became dazzled by the 17th and 18th century French aristocracy specifically the correspondences of one princess Palatine a german-born Aristocrat that married the widowed brother of Louis XIV she observed French court with a biting with the Kara was enthralled by and the beauty and pomp of court that she described only further nurse Carl's desire to be in the city of Lights Paris but alas his mother's desire to leave the countryside and move back to Hamburg required a new house for the lagerfelds which had to be built so in the meantime they stayed at the Hotel Esplanade which is where in 1949 Christian Dior the late great couturier and inventor of the new look staged a fashion show as part of a fundraiser to help Hamburg after the war the 16 year old car Lagerfeld attended the showing with his mother and between the models the aura and the clothing including the famous New Look which young Carl from then on always admired and between this and his already constant musings about the historical significance of France's past the crowd that broke the schnitzel's back he wanted to move to Paris but Carl was still stuck in Hamburg preparing for his Parisian future by studying French and becoming fluent as well as focusing on his illustrations which at the time were becoming obviously clothing Centric so much so that his mother showed his work to the director of art at the University of Hamburg who did go on to confirm that he should be a costume designer rather than an artist and so when he turned 19 with the support from Otto and Elizabeth he was shipped off to Paris to pursue his dreams but his parents did have expectations of him he said later in his life that they told him quote do what you want but it has to be a success he arrived at the end of August in 1952 and moved to the Latin quarter or the fifth Arundel small where Parisian cultural institutions like the sorbonne Cafe De Flor and the dumago stood and still stand Carl's arrival in Paris was both a wonderful time to be young and obsessed with fashion due to the Titans that ruled over the city like Christian Dior and Jacques fath and Cristobal Balenciaga but it was also tough to be a German as the French and especially the parisians were still adjusting to life after the Nazi occupation of France and the Vichy regime which was cruel and tried its hardest to suck the life out of the city and its people at one point the Nazis even tried to export okatur to Berlin but luckily failed in that endeavor but nonetheless parisians were rightfully aggressive to Germany and its citizens so much so that they only referred to them as crowds Carl did everything he could to hide his German root from modifying his appearance to look less Germanic and more well anything else and making sure that his accent appeared perfectly French and didn't have any sort of dramatic draw a year after Carl arrived in Paris he began to take fashion illustration classes at the kurz norrero Run by Andre norrero perijon who would stay as a confidant to Lagerfeld throughout his career and life Petty Jean was the daughter of two artists and worked as an illustrator for Nicole Groot who was the younger sister of the designer Paul Parra norrero realized that Carl was special and nurtured his talent often bringing him to Oat Couture showings that she had attended and speaking of fashion shows Carl's mother's friend actually got him a ticket to attend Coco Chanel's famous comeback show in 1954. Carl attended but didn't know that nearly 30 years later he would be debuting his own Chanel comeback show but more on that later between seeing these fashion shows and the nourishment of Madame Petty Jean two sketches of the time showcased Carl's growing strength in understanding clothing the art of accommodating leftover fur from 1954 showcases women sitting in a crowded restaurant wearing the newest Fashions nipped waists High collars Trims and fur and tassels and captures the atmosphere of the time notably some of the subject's faces are not totally complete probably as a measure to focus on the clothing what is clear here is Carl's growing finesse as an illustrator and in spring hats we can see again gorgeous women all wearing the newest shop pose staring in a mirror at themselves Carl's attention to detail in both is striking from creating textures like black Australian fur in leftover fur that juxtaposes itself against a yellow dress or dynamic pink pleats on a hat in spring hat Carl sketches would soon not only exist on paper though as the second annual International wool Secretariat or later known as the woolmark prize requested that aspiring designers sketch a full look if it was a winning style it would be produced by a real old couturier this excited Carl and so he created a few sketches and sent them off and after a while heard back that he had won first prize in the coat category his coat was called long sham after the famous racetrack in the Bois de Buon and was a knee-length coat with a plunging neckline exclusively in the back which was uncommon for the time two other designers also won prizes one was Colette brachi and the other one was Yves Saint Laurent but more on this later Carl's look as promised was produced by an orkuchurie the notable Pierre belman a colleague of Christian Dior who had started his own Maison just a few years before Dior and originally wanted to go into partnership Duart on Amazon together now at the ceremony for the prize Maria Therese a Pierre balmo house model looked glorious in the code and Carl began to network speaking with Bellman himself who would go on to offer him a job as a designer at the Museum and so in January of 1955 young Carl arrived at Pierre Bell Mall on the right Bank of Paris when he entered into the hallowed or Couture Halls he didn't like it so much while he'd already been rather unimpressed working at Belmont because it was no Dior the aura inside his new job was somber and sad which didn't help the reason that Carl was selling about Belmont is while the brand at that point was known for its or Couture and had a business that kept 600 employees afloat the simple dress and jacket combinations and the pleated gowns never really created a memorable sensation not just for Carl but for most people unlike Dior who revolutionized all of fashion Bellman made much less of a Ruckus and he wasn't really generally exciting and when you're 20 and working in fashion it's incredibly important to your image and ego for the brand to be exciting listen I'm going to tell you that as somebody that worked in fashion like if it wasn't good it's like you feel like now Carl started as a design assistant which meant that he was on the Bottom Rung of the fashion ladder and his job was rather grueling as far as fashion design jobs go Carl and the other assistants were required to sketch each look from the collection down to the details like embroidery or prints which would then be compiled into a portfolio and then they would be sent off to clients so they could pick what they like and if Bowman showed 150 looks a season which happened often that was a whole lot of looks to be sketching individually by hand there was no printer there was no scanning while Carl did work with other designers his voracious appetite for work led him to eventually start to do theirs which wasn't for the benefit of them but rather because once they left the Maison for the day it made Carl look like he was a very diligent and dedicated young employee and eventually the others began to fall away leaving him in charge now Carl had an early run-in with dressing celebrities while at Batman as well as Jaja Gabor the famous actress once wore one of the hats that he had actually designed with Belmont and while the photo is lost to a private collection the trauma you don't know how long I looked on Google images for it having one of the most famous women in the world at that point where your hat must have made Carl feel special in March of 1955 the other winner of the international wool Secretariat isang landed a job at Dior thanks to family connections while some say that Carl and Eve reconnected after the iws at school I can't find any actual record of this so I can't say that it's necessarily true and I haven't found a way that they actually reconnected in those early years at all in Paris but nonetheless they did reconnect and began to party together along with Anne-Marie Munos who would later become the head of Yves Saint laurent's okay and Victoria a Dior house model who Carl and Eve would Vie for the platonic affections of often they would speed around Paris to all the clubs and parties in the convertible Volkswagen that Carl's father had actually bought for him and while the gang was having fun Carl was contemplating his future and it didn't seem to include staying at Belmar while working for Belmonts Flores line was well received and was his first dip into what would eventually become ready to wear or pressure Forte working at the brand was not all it was cracked up to be the low pay the mean-spirited nature and the quote big social complexes of fashion people help to push him to look at other opportunities and when Eve Celeron was announced to the world as Christian dior's successor in 1957. that might have been the straw that broke the camel's back and Carl had to leave in 1958 Carl began as the creative director of jean-petu and okatur Maison that had existed since 1914 and was known in the 1920s as a competitor of Chanel who had kept up with Coco as the post-world war one energy meant an increase in clients Patu became known for his sportswear attire not the leggings or sweatshirts we think of sportswear as today but rather smart but loose-fitting looks that allowed women during the 1920s to play sports or careers and just be a lot more agile than they had been pre-war jean-patu's collections were noted as quote a classic somber collection with nothing outrageous and some pet two house codes were Furs worn in both winter and summer wool Day dresses that were supposed specifically woven for tattoo contrasting fabrics and evening wear ensembles that reference both traditional menswear and women's wear textiles and vibrant and new colors with poetic and quirky names but jean-patu himself had died in 1936 and the brand was run by his sister and his Muse Madeline and her husband Raymond barbas with lots of designers trying to fill the role after that so when Carl started leading the house at the tender age of 25 it was a bit of a career jump for him he was now in charge of an oak tour House of his own and showed his collection on the same schedule as the greats like Chanel Dior and Balenciaga a profile from a Vogue pattern book says that Carl's first collection fall winter 1958 was completed in only three weeks and was later dubbed the quote K line photos from The Collection show wool skirt suits with very large buttons and scarves tucked under the collar and a silk shawl coat with arm slits donning the runway The Collection then would have finished off with the white wedding finale Look whose large veil with 3D faux flowers at the top covered a white short caped gown now Carrie Donovan in the New York Times reported that quote the Press booed lagerfeld's collection for Patu which might mean it didn't land as smoothly as Carl would have wanted also like imagine today the girls booing at a fashion show jeez and this would have been rather unlike Eve celino's debut for Dewar which likened him to a genius and the Little Prince of fashion luckily Carl's second collection spring 1959 was better received and Donovan noted that the collection had quote an understated Chic elegance and just plain class Donovan also noted that quote Carl has rounded the shoulder line added quote in exaggerated shoulder pleats over the hip line making them gently rounder and showing evening clothes that were quote short and full skirted with tantalizing decalets and and Skin Tight bodices the showing got a wild Round of Applause for Carl and seemed to place him in a better standing amongst the fashion crowd during Carl's tenure at tattoo not only did he get to flex his creative muscles for the public but he also got to experience the expertise and craftsmanship that old Couture requires many of the seamstresses at Patu were of a certain age which meant that they had been around during the 1920s and the 1930s which was a Renaissance in Old Couture one in particular Madame alfonsine understood complex flow techniques like draping in the bias cut and taught them to Carl and he wasn't as busy there he really had a lot of time to learn about the actual craft and the requirements of oat Couture from Fabrics to finishings and here Carl was also put to the test when it came to understanding garment construction as his lack of sewing skills meant that his sketches had to be precise and and comprehensive for the actual seamstresses and their bosses the premiers of the ateliers while it's great to be able to sketch a designer must have the technical and constructive background to rectify problems when the Garment comes to life and for Carl if he couldn't the premieres and by proxy the seamstresses would lose respect for him it would be like an unprepared Schoolboy trying to dictate nonsense to the principal and teachers but luckily Carl was able to learn how to be precise in his sketches so that these issues wouldn't arise and it meant that gorgeous garments could be constructed in his name one particularly stunning style was a black silk gown with a large bustle skirt whose bonus created a fan effect by incorporating strips of fabric in a five-sided bow configuration which would go on to be worn by The Bona Fide French star Catherine deneve who looked absolutely radiant in it and only held to propel Carl's name and notoriety another thing that Carl might not have learned a tattoo but certainly had to have been aware of was the Brand's history of radical diversification of product while petu was an old Couture house at the time its shining star wasn't really oat Couture but rather a simply named perfume called Joy it was invented in 1929 as a response to the Great Depression and joy kepatu afloat when Economic Times were difficult during the 1930s and it just became a bestseller especially in America where a lot of tattoos customers were tattoo also had quite a few other perfumes that were Global successes and made some considerable profits in other areas like sporting Styles and knitwear bathing suits and Licensing any number of those styles to American department stores to make and mass tattoo was still running its perfume Department while Carl was there and while you might not have had anything to do with production or scent cultivation he certainly was surrounded by a multi-faceted brand but after working at tattoo for five years Carl's Swann collection came in the form of spring 1963. I haven't been able to find much on the collection to be fair the photos I have seen showcase a collection with large button coat dresses or intricately embroidered bustiers on long gowns but regardless of Carl's last collection his time at tattoo was over and unlike his Frenemy is on the wall it wasn't a firing rather it was in amicable moving on now in the 1960s everything in fashion changed no longer was the Bourgeois old Couture King as it was about to be eclipsed by none other than its less ostentatious and expensive kid brother ready to wear and Carl Lagerfeld ever The Observer of the cultural Zeitgeist saw this he began to work freelance picking up contract jobs from a host of different clothing and accessory making Outlets like Mario Valentino repetto and the French supermarket chain mono pre designing everything from shoes to dresses his friend Anne-Marie Munos described him as a quote stylist which during that time was a designer that worked for a brand that wasn't their own whether that was as a Korean director or as a designer specifically creating four manufacturers and factories it wasn't nearly as glamorous as being at an old Couture house but it allowed The Stylist Freedom as well as opportunities to design outside the restrictive terms of the big houses but while Carl was working with these manufacturing Brands he started to be picked up by smaller less well-known fashion brands one being Chloe based in Paris and the other being Fendi based in Rome in 1964 Carl joined the French predaporte in English ready to wear Studio of Chloe which had been founded by Gabby aeon Gabby aeon was born in Alexandria Egypt to a cigarette magnate father and fashion loving mother and moved to Paris in 1945 with her art gallerist husband she grew tired of living off her husband's money and in 1952 she decided to open one of if not the first luxury ready to wear fashion brands she said that the gap between the extreme luxury of Oak Couture and The Bleak Simplicity of very simple ready to wear that didn't care for fabric composition or exciting design led her to want to create something she and her artist friends could actually wear she hired seamstresses from the recently closed Couture Maison Luciano Le long and began to focus on fabric specifically cotton poplin and the styles of the sporting clubs of Alexandria in the 1930s and 1940s aeon created six dresses for her first collection and they were all cotton dresses of the same cut but in different colors unfortunately there are no photos though and from there Chloe more or less seemed to create well-made and good quality ready to wear that fit in with a youthful fashion Zeitgeist of the time the Styles followed the Silhouettes Of The Late 1950s but was much less restrictive than the corseted clothes of Christian Dior or Jacques fath and once the 196 he's crept in dresses got boxier and skirt suits slimed down and by 1964 a young had amassed a group of cool designers that ran her studio and worked with her to design the collections and her newest addition would be a young Carl his first collection at the brand was Autumn winter 1964 and the collection was said to have looked at the glamor of the 1930s and had lots of lace details and silk sheath dresses considering there were four other designers working besides Carl he really only had a minor role of the company this early on and they only had him designed two looks per season for the first year or two so we can't really tell what is actually his but eventually as time went on many of the other designers left and he and grazia La Fontana were the only two working and you all understood that Carl was talented and like her he was a Devourer of all things culture so his ideas were boundless and pulled from everywhere which led her to rely on him more and more and as time progressed Carl slowly expanded on the Chloe Universe building out some of its most iconic Staples in the spring 1966 collection Carl introduced his hand-painted silk dresses which showcase bright and vibrant designs that captured the artistic Spirit of the 1960s and in the same collection Carl's blouses made serious Headway they were described as the quote most flattering evening blouses marvelously elegant with ruffles bows and pleats these blouses were not only a creative hit that began to capture the Bohemian aura that would eventually envelop the 1970s as a whole but they also were a commercial smash which proved that Lagerfeld had what it took to charm both critics and customers Carl learned quite a lot about trimming down his Grand aesthetic to fit the criteria of ready to wear from Gabby who understood that ready to wear must be of the moment and quote fresh as a salad without this it would lose its momentum and Chloe unlike the oat Couture houses didn't have perfumes and Licensing agreements to keep it afloat if a collection didn't sell Carl's Chloe through the 1960s would continue to capture the aura of the decade and paved the way for the one that followed it but in 1965 Carl threw a connection of a friend would start the longer collaborative project of his career and it wouldn't even be in Paris Fendi was founded in 1925 by Eduardo and Adele Fendi who began the brand as a fur and leather Atelier partly because Adele had already been working as a first specialist at another Atelier their brand took off with the aristocracy of Rome where it all began and the brand would slowly move to creating more and more product lines as time went on in 1946 Eduardo passed away and the Five Daughters of his and Adele's stepped up to become more involved in the company's management the five daughters Paola Alda Franca Carla and Anna by the 1960s obviously saw that fashion was changing and so they asked a PR advisor named Franco salvarelli to find a designer willing to make Furs that were quote a bit different Carl Ever The Stylist agreed to meet the sisters but he did know that Fendi prior to his arrival was quote known in Rome for expensive and beautiful Furs very rich Bourgeois but heavy essentially fur during this era was a way for a woman to show she had money in status that she could afford to wear one was a luxury but often it was meant to last years sometimes almost decades so when Carl agreed to sign with the fendi's sisters he was tasked with creating a small collection that would be quote fashion and quote fun mixed together and to a degree that request was the antithesis of what fur up to that point had symbolized but Carl Ever the one to take on a challenge began to sketch in front of them his pen moved quickly and sketched out a design that showcased two F's interlocking it was simple it was daring it represented Fendi fun fashion all at once and it would go on to become the monogram of the brand his first collection for Fendi was in 1966 but it had already begun to alter the vision of fur most of the world had this early collection depicts models wearing tunic pant suits with leather trims a foam mink mini coat and a fur handbag which for the time was quite radical because it just wasn't common and there was even allegedly a full white mink style for brides who cared for such things over time Carl would begin to implant his signature at the brand such as full length fur coats that looked almost gown like geometric motifs that covered everything from coats to shawls possibly in a nod to the lines and art of the art deco movement which by then Carl was more than obsessed with and traditional riding gear with jodhpurs and snug mink jackets for the whole family these early years at Fendi also showcased Carl's ability to sketch not just clothing but accessories as well while The fendies Wanted their new fur line to sell they more than likely also wanted Carl to create fun and Whimsical items to go along with his Fashions and hence we see a geometric reticule bag inspired by the 1920s and shoes Galore from riding inspired boots to Smart brogues and while Carl designed for this plethora of Brands simultaneously he was still able to have a personal life while in Paris in 1968 he met two very important Americans from New York Antonio Lopez and Juan Ramos who would become his friends for much of the 1970s and would help to create his first click Lopez was a fashion illustrator published major magazines like L as well as women's wear daily while Ramos was an art director who was Lopez's working partner in both love and career Carl quickly scooped up the two after they were on assignment at a Chloe show as he found their American Spirit and vigor exciting and Carl also always loved a shiny new toy then Carl Beasley moved into the 1970s but it was both a great but tough decade for him in some regards it's when Carl really started to become a quote personality in fashion that commanded respect and built up his own persona but he was also in a constant competition with his old friend Yves Saint Laurent in both a career and personal sense in reality the 1970s for Carl was a decade of binding his time and suddenly he implanted himself under some of the fashion and cultural Elites noses in ways that would pay off for him later but for now San Maron was becoming a major hit in the Fashion World between the Mondrian dresses the Claude lalan collaboration and the smoking suit all of the 1960s Eve was the prince of Paris which more than likely annoyed Carl and slowly but surely their friendship began to fade in the 1970s between Eve's business partner Pierre Berger's attitude the insular friend group that Eve had called La Clan and his burgeoning stardom Eve just didn't have the time for Carl like he did in the 1950s and 1960s and while Carl did build out his own friend group with Lopez and Ramos and their friends like the Cool Young American models such as Pat Cleveland Donna Jordan Jessica Lang Jerry Paul and Grace Jones who all partied in the same places like the famous Parisian club thecept and the palace the two just never rekindled their once fund student years but alas the two while gradually drifting did have some of the same friends they both were friendly with Andy Warhol and members of his Factory while Andy and his business partner Fred Hughes began to hear about Carl and wanted to interact with him and so they invited him to appear in their 1973 film titled L'Amour the film is essentially a very strange love triangle involving Americans living in Paris and Carl played a very rich husband even makes out with his on-screen wife in a rather long and passionate make out scene I personally would not recommend watching it because I literally cannot understand anything that is going on here's the makeout scene for those interested listen if I had to watch it you all have to as well we're suffering as a group here now the film did help Carl though as it introduced him to Pablo Picasso's daughter Paloma who would go on to be 18 each other between his and Eve's World another Personal Touch in Carl's life came in the form of Jacques de becher a young French Aristocrat who Carl fell in love with which was rare as his friends at the time were constantly pressuring him to get out into the dating world and he was obstinate to say the least but Jacques was different he was cool and handsome cultured and smart but he was also wild loved to party and enjoyed acting dangerously which made Carl nervous for Jacques safety Carl lavish Jacques with gifts and even an apartment and even helped him career-wise by inviting him to work with him at Chloe by being backstage at shows and helping with the Show's music Carl loved Jacques and Jacques loved Carl this was all true the love was so strong that even a serious test of infidelity couldn't stop the two in what is probably Jacques most well-known Endeavor he cheated on Carl with none other than Eve Celina himself the affair lasted less than six months but Eve fell hard for Jacques and their sexual relationship seemed rather uncomfortable for those who have read and heard about it when word got out that Eve and Jacques were having the affair it sent shockwave through Paris but effect in Eve more than a dijoc Eve's business partner and lover Pierre Berger broke it off with him and threatened Jacques and Carl both which Carl said was the only issue he really ever had with the whole Affair Carl later said of Berger quote he really stirred up the with a group of people who had been really good friends most likely indicating himself and Eve and continued quote I was never mad at Eve there was this famous fling that didn't have anything to do with me now coral and Eve from the mid-1970s on didn't really have a great relationship they were always cordial but it became known that you were either loyal to someone wrong or loyal to Lagerfeld and there were very few who could tow the line of being in both and if Jacques hadn't died of AIDS in 1984 who knows they might have been together all of their lives but their relationship really wasn't affected much by the affair air as they continued on their merry ways until Carl lost jock and was incredibly saddened by it but while Carl's personal life was exploding in so many ways he was diligently designing more and more for Chloe hand-painted silk dresses continued to emerge and their Inspirations ranged from antique blue and white porcelain China to the Viennese Art Nouveau there were cool culotte pantsuits and flowing halter neck gowns made of crepe Duchene as well Carl's use of the light and fluttery fabric crepe the sheen was smart because it allowed him to keep within his 1930s fashion wheelhouse while also employing the bias cut techniques he learned from patus ateliers Chloe is where we begin to see the compounding Coral effect where he picked pieces of Aesthetics design history and techniques to create an entirely New Creation that hadn't been seen before Carl took what many would consider old junk and upcycled it into the newest and coolest thing essentially it was Frankenstein's monster in a nice frilly dress his is Chloe ready to wear in the 1970s was successful and it commanded attention he was the king of prataporte and what he and Chloe did most definitely mattered so much so that by the Fall 1975 collection Carl was appointed as a sole designer in charge of Chloe his first collection was so well received by critics partly because of what the Herald Tribune said was a contribution to Fashion on par with Madeleine viennae and this contribution was the elimination of unnecessary Linings stiffenings which might mean boning or wiring and seems that cluttered up clothing it was still Motif heavy with Florida Galore utilized flowy capelets and sleeves and had mobs and purples to really hit that romantic aesthetic of Carl's Chloe home throughout the rest of the 1970s Chloe collections continued to excite with fall 1976 showing painted taffetas spring 1977 showing tank tops and t-shirts paired over top of dresses and spring 1978 being the last time in the decade that Carl would showcase the Romantic cotton dresses that Gabby aeon built the foundation of Chloe on another important moment I want to discuss is Carl's adding of sneakers to the runway for his spring 1976 collection for Chloe I'm not sure if he was the first to actually do it but it was Radical regardless sneakers would have been associated with working out or kids playing around not as serious Footwear for a luxury ready to wear company to design but the thing about Carl is he was always looking at what would be coming next and the last item of note when it comes to Chloe in the 1970s is that for a spring 1977 collection we can see that trellis Decor is built into the runway it's not grandiose it's not over the top and we see it in later decades as well but it's important to note how his legendary Show sets started and it's here as for Fendi the early 1970s seems to be rather undocumented from what I could find there are sketches of Coral's work which are so tiny I thought I was going to reverse my LASIK surgery but regardless I have some info to share in 1970 Carl was still creating geometric motifs in his fur coats oftentimes they were simple Stripes that diagonally ran across while a newer style that depicted a blue sky white clouds and a dark tree-lined Street emerged as well Carl for the rest of his career Fendi would paint vivid pictures utilizing fur and this seems to be the first time it was done and what a strong and clear outing of this technique it was according to sketches 1971 brought a ton of lavish first stoles that models wrapped around their arms and shoulders in a decadent manner while 1972 seems to present black and white polka dot Furs which considering some Furs that have color differentiation are seen as defective must have been a somewhat rebellious idea against that notion in 1973 we can see a sketch of a pink fur trimmed heel that doesn't say Fendi but rather Mario Valentino the Shoemaker that Carl was freelance designing for and it's incredibly intriguing to see that by this time Carl was already leveraging his multiple Design House connect actions and relationships to create collaborative items for Brands I mean listen this beats out the Louis Vuitton and supreme collaboration by decades decades and in that same year we can see what is apparently the first time the Fendi logo is used on clothing within a coral designed garment for Fendi with the logo sitting on the breast of a jacket in 1974 a sketch depicts a model wearing a long pink gown and pink banded fur stole now while one can't be certain that this is the first time that fashion and fur materialized in an oddly dyed fur it is certainly something to behold as colors like this would have been seen again rather far out for traditional Furrier for the 1975 collection there were piecemeal fur striped jackets ostracon fur coats with strips of leather that created wide stripes and a trio of white nick Furs all with tightly belted waists and the center one with a scalloped hem by 1977 Fendi began a ready to wear collection meaning it was no longer creating only fur and leather Centric clothes and the collections seem to incorporate more tailoring and sportswear looks some even full of the Fendi name as a print by the end of the decade fur flower appliques began to be seen on coats the mixture of different furs are being experimented with and fur as Whimsical trims were becoming more and more prominent the final note about Carl's 1970s escapades though has to be that writer Michael Roberts would go on to pen that Coral in 1973 was offered a job to become the new designer at Chanel for almost 250 000 then which means almost 1.5 million dollars today but he declined the offer for unexplained reasons but funnily enough 10 years later it would change his tune the 1980s was the first decade where Karl Lagerfeld reigned as one of the fashion Titans of Europe he kept old jobs got new ones and left some behind to pursue a greater career and it all worked now his worker Fendi was expanding was getting rather positive reviews throughout the decade fall 1980 projected a vision of large fluffy fur coats with either a textured dress or flared wool skirt underneath teeth while a leather suit Rife with seams in both an art deco and for Pelt reminiscent Manor was paired with an exaggerated fur bow that again transformed the notion of what fur as a textile should make and in the same collection Carl's ability to tame fur to no longer shroud the wearer but rather flatter their figure through cinched waists or having the pelts line up to Contour the body was becoming master and spring 1981 showcased that fendi's ready to wear did not have to Encompass fur in the Sun as bathing suits sundresses as well as shorts and sandals floated down the catwalk This was a smart move for both Carl and Fendi as it gave the brand a new Lane to commercialize without having to sacrifice their Heritage The Duality of Fendi continued to present itself for the 1982 collection with light summer dresses for spring and a heavy coat made up of tails for fall while another was made up of swatches of fur and a range so that the swatches mirrored Knight's chain mouth which was perfect for winter in 1983 we saw lots of halter neck Styles some in prints like polka dots but others were in the Fendi house code of suede or leather suede is leather and while Carl trial mixing exotic Furs like ostracon with exotic skins like pythons Fendi was moving and grooving in 1984 Carl expanded on his print work at Fendi by creating Graphics by hand painting them first which he had carried on over from Chloe and while 85's explosive Furs were abundant and fluffy but had fun accessories like hats and 1986 saw Fufu tool dresses emerge on the runway which would go on to help Define the decade in 87 Carl's showing of Furs was incredibly diverse and with that diversity one could see how he had a Mastery of the textile and could command it to encapsulate the wearer like a white coat with black spots that felt like a snow princess's Wildest Dream or an a-line mink coat whose lines were so crisp and so clean flowed just so effortlessly that even mink doubters like myself would have to appreciate it the rest of the decade at Fendi didn't show any breakthrough collections but that doesn't mean they weren't filled with Gorgeous styles that would make one want to purchase a Fendi fur from an ostracon skirted dress to pouring like rabbit coats do a crop shag fur in black and white now Carl's work at Chloe continued on but once the new decade began the Chloe flowy and blowy romantic aesthetic was quickly replaced by a much more campy and kitschy one his spring 1980 collection showcased an array of Lagerfeld signatures that would be synonymous with his work for decades from tiered flouncy skirts to geometric printed halter neck dresses reminiscent of constructivist Russian Styles they were all there but the gaudy oversized pearls as necklaces and belts as well as rounded star baby toy neck appliques gave the collection a much more nuanced look at what the decade would become and I mean Franco Moschino only started his brand that made fun of fashion in 1983. so this costumey collection from Carl is sort of radical for its time as well Carl also jettisoned Aesthetics from season to season as one about the 1960s mod culture would be dropped for Anne Boleyn inspired headpieces while the following would be referencing Grecian post-modernism this Style to Style season to season became another set in stone business practice for Carl switch it up season after season and nobody will ever be able to keep up with you the show sets also became more and more encompassing of these passing themes from the giant TV set from Fall 1980 to the deserted street that models Strode down like Fierce sports cars for fall 1983. but Carl's clothing is what kept the critics and customers coming back for more time after time for his rolled off-the-shoulder dresses were again unique for the time period and were self-developed by Carl with a fabric manufacturer while his corsets could be placed over top of dresses and were decorated with sequins or buckles or even faux draping and we also begin to see the Charming and misleading accessories that would eventually become collector's items for ravenous Chanel customers like his handbags that resembled then popular transistor or portable radios inspired by kids in the United States carrying them around or his piano key handbags or necklaces or the pair of pliers or wrench necklaces as well and his finale two collections for Chloe as Carl moved on after the spring 1984 show showcased an array of comical Trump Louis styles for fall 1983 water faucets on the front or back of dresses Unleashed a cascading Rush of silver embroidery that sparkle shimmered and shine and his finale of spring 1984 faux scissors that exposed a fake red sequin lining while a colorful sequin mini dress on a hanger utilized a Black knee-length Sheath dress as the backdrop the most majestic faux Greco-Roman draping was outlined in silver embroidery that was not only a brilliant play on the Trump loeh effect but also paid homage again to the focus on drapery throughout much of his career and now you're probably wondering Luke but where is the most important Carl Lagerfeld career development of the 1980s and while his appointment to Chanel in 1983 is a little bit more intriguing than one might originally think now Carl's contract for Chloe was up in 1983 and in that agreement it was strictly stated that he could would not design ready to wear for any brand in Paris but this stipulation precluded the house of Chanel's famous oat Couture collections which meant that when a land wertheimer Chanel's chairman and the grandson of the Chanel parfum's founder Pierre and his team asked Carl to come on board he could actually agree now I'll do a quick history of Chanel as respectfully I think we all know most of it Coco Chanel founded her famous fashion house in 1910 originally as a millionry and then in just three years she began selling accessories and even clothing by 1915 she was about to open not only a clothing store but a full-fledged okatore Museum and our sportswear designs as well as utilization of fabrics like Jersey that were more affordable for customers led to her becoming a smashing success and her two-piece skirt suits changed the way women dressed from the 1910s forward by the early 1920s she had created a successful jewelry line and in 1920 specifically she developed a fragrance and in 1920 specifically she had a fragrance developed by an expert perfumer Ernest Beau and by 1921 she began to sell it now the fragrance was revolutionary because of Bo's concoction that was part natural and part synthetic and as Chanel set off to sell it in the gallery Lafayette who was happy to do so it became clear that she needed to produce it in larger quantities and Beau could produce and so a meeting was set between Chanel and Pierre wertheimer whose family was the owners of Bourgeois a Cosmetics company with factories that could in fact handle Chanel's order numbers the two set up a company called Chanel parfums in 1924 and things moved on well in 1926 her little black dress was covered in Vogue and from there she was a Bonafide International Fashion Star in September of 1939 Chanel shut down her Oak Couture operations as it was becoming clear that World War II was about to begin many believe she realized the war as an excuse to punish her seamstresses who would strike three years earlier but it's not exactly clear what her true intentions of shuttering the Maison was she kept her store open at 31 Rue Campbell as a way to not get it taken over by the Nazis who were invading France but Chanel fled Paris as the German invasion began and she only returned after May of 1940 when it was completed she returned to the Ritz hotel where she had lived previously and she met with a common daughter of the Nazis who were occupying a part of the hotel in order to get a room within it the Nazi agreed and she would remain there throughout the war and throughout most of her life an important detail about Chanel and Nazi Germany is that prior to the German invasion Chanel had had a relationship with a man named Hans guther Von Dinklage when they met at some point in Sam Moritz but in 1933 or 1935 Huntington clinch was sent to Paris by Nazi Germany for propaganda purposes but in 1941 at some point she sought him out as she wanted to help in getting her nephew out of an internment camp and the same year she also began a relationship with him as well as time went on during the German occupation of France what had become commonplace throughout other Nazi occupied countries began and it was called dispossession now this is important essentially because of the Nazi belief in the inferiority of Jewish people the Nazis allowed soldiers and locals of the occupied regions to take whatever they felt like from jewish-owned businesses Not only was inventory stolen but Jewish business owners were forced to sell their establishments to non-jewish people as a way to create poverty and destitution amongst the Jewish population and so Coco Chanel who felt that she was swindled out of more profit that she thought she was due and she only been given 10 of Chanel parfum's earnings one to change that luckily the worth heimers smartly moved their assets to a friend and business associate who was not Jewish so that the Nazis could not gain control of it before they fled to Safety in the United States but this didn't stop Chanel even though she failed to actually get it during the dispossession era her attempted use of dispossession also very much so makes her a terrible awful human but this didn't stop Chanel as in 1946 after the war she proposed to launch three new scents that would rival her most powerful and the worth timers allegedly went to were asking exactly what does she want she broke her to deal with the wertheimers that gave her a much more generous profit and paid for her to return to Oat Couture and so in 1954 she got back on the schedule she brought out her Tweed skirt suit and debuted the 2.55 bag and eventually died in 1971 which left the house of Chanel to only subsist on perfume ready to wear and bag sales and was now owned exclusively by the warthimers but by the early 1980s that was getting stale and even Alan wertheimer knew it in September of 1982 it was announced that Carl would take over as artistic director of Chanel and while it created excitement and also created a simmer of the discontentment about how Carl wouldn't understand the house of Chanel and how older clients wouldn't appreciate his more modern takes but Carl was kind of perfectly poised for this position to be absolutely honest his ability to design an array of product lines another came in his obsession with the 1920s and 1930s Aesthetics when Chanel reigned and his background at patumin he had a technical grasp on Old Couture and the period that Chanel had truly made her mark on Carl's idea for his vision of Chanel was quote it's important for young people to touch her style it must be fun and while returning to okatur was difficult due to the slower pace of Creation The Root cambon was still abuzz with excitement about his appointment on January 25th 1983 he debuted his collection in 31 Wu kembol the same place that the Mademoiselle had shown her old Couture collections The Collection opened with three models standing in the doorway one in red the other in Navy and the other one in the center in cream each wore a Chanel skirt suit in the style of the Mademoiselle herself as Carl didn't want to focus on her boxy Tweed sets from the 50s but rather her swallowing a 1920s and 1930s skirt suits each of the looks nipped in the waist of the jacket with the skirts falling below the knee and the shoulders being firm but not hard and sharp each of the models wore hats paying homage to the millinery side of Chanel and its history with a white version of the straw hat that Chanel got her start with the red with a minimal style and the navy blue took a wool Beret approach each were adorned with costume jewelry with the navy blue look being the most heavy-handed in the Chanel Manor and each had two-toned shoes on showcasing that Carl understood how to play on each sector of the business more skirt suits followed all with white blouses underneath which Not only was Carl familiar with but also Chanel's earliest suits were worn with them too the refined Tweed sets emerge either displaying a bright plaid lining and lapels or utilizing the Plaid as a softer way of showcasing the Garment Chanel's famous cashmere cardigan skirt sets also arrived in more muted Grays and yellows and Carl's own Aesthetics also bled into the collection like his off the shoulder silhouette and his love for Prince while a white wedding dress closed the collection which was made up of flouncy tiered skirt and jacket like bustier the most revered look was worn by model Inez de la fresange who was put in a black Jersey dress with long sleeves and Trump away embroidery between the dress the short tool Veil cropped hair and the cigarette that Inez puffed on during her walk she was the spitting image of Chanel herself and this is what made Carl's career at Chanel so incredibly smart she was a terrible person yes agree 100 without a doubt but it didn't help the wertheimer family sell perfumes for her to be Nazi persona non grata So what had to happen is there had to be a Rebrand of her in order for the Jewish owned family to actually make money off of the perfumes and that's what Carl did he turned Coco Chanel into a character constantly throughout the decades depicting her in different settings and bringing her to life for those who never got to know her she is Central to the story and getting models that looked like her to wear the clothing that had the Chanel label Stone on it was following with Chanel as her own greatest model did throughout her long lasting career the show ended and the Applause rang out and for the most part the critic were positive some were not and some clients even felt like it wasn't right just yet but overall he had done it by the next season Carl was over the hump of first show Jitters and began to build out his vision of the brand and it was fun even the old Couture the next season was supposedly all about luxury but seemed to have a Russian twist which coincided with Chanel's early works with the Russian aristocracy after the fall of romanovs there was of course the Tweed skirt suits with all the fixings but the fur Trims and the decadent embroidery reminded one of the court of the tsar and Zarina and once Carl's Chloe contract was up he could design Chanel's ready to wear offerings which started with spring 1984 which was notably looser and more youthful than the Couture Carl obviously paid homage to the house codes like the Breton stripe collar Cardigans and drop waist dresses with pleated skirts but he also played up the humor and the wit he was known for by adding in a race car style jumpsuit in the classic Chanel cut while Chanel Double C logo helmets paraded down the runway while these items may have seemed silly they also help to expand Chanel into a Lifestyle brand that people still to this day love and clamor to buy for the rest of the 1980s Carl's ready to wear an oh Couture were two sides of the same coin as they both reflected the house codes of the brand but one was much more traditional and the other a little bit more funky the ready to wear Rift on pop culture and embedded the Chanel ethos into that culture like in 1985 when Carl miniaturized the Chanel skirt suit which Chanel herself vehemently opposed to or when he sent a Madonna look alike down the runway in 87 or when he placed a long logo t-shirt over a sheer lace skirt and a Nouveau version of the 1920s drop waist for spring 1988. a nasf road Couture the culture was also a focal point but it was a much more refined culture on display with spring 1985 referencing French painter watto and fall 1987 that touched upon the 17th century Opera atisse and the rest of the decade had looks inspired by everyone from Shakespeare to Nancy kunar to Napoleon's Second Empire if the 1980s was one thing for Carlos it was his breakout in true stardom due to our time constraints our coverage of the 1990s to the late 2010s with Carl's career is going to be a little bit quick mostly because I'm a procrastinator and also because well Google exists Carl Chanel was legendary during this period for obvious reasons mostly because his ready-to-air collections continued to enthrall and engage New audiences that were looking to discover Chanel and his Fendi collections did more or less similar Endeavors as Chanel but with heavy fur influences for fall and winter and much lighter and brighter Sports were options for spring and summer for Fendi in 1991 we saw that the 2010s were still inspiring Silhouettes while newer editions like monogram luggage slung all over a model like a pack mule made the case for logomania and patched together first scrap scene to help push the grunge aesthetic that would soon take over the decade and this was all pre-mark Jacobs at Perry Ellis and Louis Vuitton to boot towards the end of the decade Fendi got sexy with exposed midriffs being all the rage for 1996 while 1997 gave us beautiful fur coats with very little underneath and 1999 provided mini skirt shirts and sheer dresses with floor-length fleeces the return of Carl at Chloe shocked many because it only added to his already exhaustive workload but his return show for spring 1993 wowed critics The Collection was based on impressionism with Prince flowing forth in either bright pastel Hues or graphic motifs while white dresses capture the 1970s Bohemian nature that first made it famous through scalloping Empire necklines and perforated knits 1994 saw a Resurgence of the famous Chloe blouses from the master himself as well as his tank top overlays and Grecian style draped gowns his humorous tremble away embroideries made their way back in the spring 1996 collection and floral lace overlays and Bolden styles for 1997. Carl's official goodbye to Chloe came in the form of the Fall 1997 collection inspired by space which provided gloriously printed dresses with Suns Moons and stars that were both ethereal but understandable now Chanel was chock full of iconic ready-to-air runways like the fall 1990 collection exploring the Quilted Chanel handbag but subverting it with a elongated clutch versions or turning the classic flat bag into a hat instead spring 1991 took on the beach attire by creating cardigan inspired leotards black and white bathing suits and a blue sequin Chanel jacket paired with wetsuit shorts and a surfboard fall 1991 showcased that Carl was still in touch with Pop Culture by referencing hip-hop culture through creating black quilted leather baseball caps and large gold Chanel chains obviously inspired by rap culture and black style that was becoming more and more popular around the world 1993 presented the Chanel logo underwear as pants 1994 gave us matching Tweed bras and mini skirts and the fur version of the Chanel colorless jacket 1995 saw the classic Chanel 1920 suit cropped and shortened while 1996 gave us local Mania on terry cloth all in a fun in the sun manner but by 1997 Chanel ready to wear grew a bit more serious and Sullen with a collection of somber suits with sharp lines and dour Fabrics while 1998 hearkened back to Chanel south of France history but in Moody pantomime nature while 1999 finished off this minimal period with black and white focused collections as for Couture it clung to beautiful techniques and fabrics like decadent lace in 1990 heavy pleating and draping in 1991 and presented the now iconic chain dress that has been recreated since its debut over and over again the dress is simple and flattering fit with gold chains that draw Focus through the bustier hips and shoulders was meant to help create a seductive mood for a younger old Couture client who could pay for such luxurious garments this continuation of courting a younger old Couture customer was seen in 1993 with micro mini skirts on the runway as grungy plaid was draped across the hips in 1994 and flowy sheer alternate gowns operated in 1995. throughout the rest of the decade Carl continued to draw on house code exaggerating them with extravagant embroideries dangerous laces or dingy Tweeds in 1999 there were rumors that Carl might leave Chanel due to slowing sales and poor reception to recent collections but he stuck around to lead the brand into the 2000s and because the president of Chanel at that time said that Carl's contract with Chanel was for life which would continue on until literally the end of his life now in the New Millennium Carl's career was almost to its peak but he still had a little bit to go he had defined fendi's ethos and spent 27 years concocting and alluring new scent for Chanel but he wanted to be Kaiser Carl you know King even though he hated the actual nickname Kaiser Carl bendy had gained new life with his baguette bag designed by Carl's working partner Sylvia venturini Fendi but his early 2000s collections felt like they were perfectly poised to carry out the Y2K aesthetic that would most definitely dominate from the wispy Fabrics with curly lettuce hems from 2000 sheer dresses that were barely covered by Slinky Furs or wool capes for 2001. metallic ensembles and Lorax and Lace wrapped up in fur coats and capes for 2002 and dresses that looked like they had been adorned with live wiring in 2003 it's clear that the advancement of Technology and barely their social dressing Norms were present at the brand Midway through the decade Fendi entered a more military-inspired aesthetic with Furs that resembled uniforms from armies of the past and it pretty much remained that way until the 2010s as for Chanel Carl needed to reinvent himself after a poorly received end of the century show so he began to once again tap into the house codes with the year 2000 playing on the famous 2.5 bag quilting on bodices and crop tops and in that same year an old Couture collection explored Tweets in electrifying new colors like purple with metallic hems built in chartreuse waist belts Motocross Madness hit the runways in 2002 Reminiscing on early ready to wear collections while the old Couture counterpart took on Victorian glamor with bustles and high necklines early in the 2000s we began to see Chanel further push its Cruise Collections and debut with metier d'ar collections which showcased the talents of the Chanel ateliers the 2004 Cruise collection saw clients board an actual cruise ship along the and River while models swish through the cabins while 2005 saw the red carpet themed show where models posed for photographers and the audience and the 2006 Cruise collection immersed clients in the busy Grand Central terminal in New York Spring 2008 saw Chanel oat Couture showcase itself in its home for the next decade in paris's Grand Palais the spectacle of Carl lagerfeld's fashion shows might not have started this season 20 years earlier but it certainly reached a new height guests were greeted with a concrete Chanel colorless jacket that dwarfed the models and between the intricately pleated dresses and his new version of off-the-shoulder gowns that utilize embroidery on the shoulders and collar he had truly reached a new height of luxury following this whether it was building a working Carousel or a facade of 31 Wu Campbell in the grand Pele there was nothing that could stop Carl from creating not only collections that tantalized but experiences people would do almost anything to see the 2010s was the last for Carl and during this time he created some of the most memorable fashion shows ever he debuted an old Couture line for Fendi which showcased Artisan first styles with the shows having models walk on water at the Trevi Fountain and the fall 2010 ready to wear Chanel collection saw actual icebergs being transported to the Grand Palais and models wearing fur woven Tweed sets Looking ready to Brave the harshest of winters the spring 2012 Chanel Oak Couture collection saw an airplane cabin tightly squeezed guests together to watch Carl's brilliant take on the 1960s and the Golden Age of air travel while Chanel spring 2013 ready to wear collection had models walk down a solar panel Runway amongst windmills carrying hula hoop quilted bags Chanel spring 2014 ready to wear collection granted us the privilege of seeing a supermarket come to life with all Chanel themed products that were in fact real and there were handbags that resembled shopping baskets and sneakers embedded with tweed the piece of resistance was his final collection for Chanel while he was still alive which created a real beach with moving waves that models Strode across if there was ever anyone with the will to bring to life people's imagination it was Carl Lagerfeld and now while it's amazing to see all of these fashion shows that will go down in history Carl was also stirring up controversies outside of the Fashion World he created quite a lot of these controversies with his quotes and comments the 2010s is when Carl really stood out as a figure that created those masterpieces that we just discussed but also somebody who turned people against him because of his fat phobic misogynistic racist and islamophobic comments what seemed to be his own insecurity about his weight often caused him to be downright cruel to plus-sized women saying absolutely idiotic things like their eating habits during the finances of the French social security system and he even once described Adele as quote a little too fat now while Carl did seem to have issues with eating caused by his mother from a young age and even wrote a diet book none of it excuses his cruelty here he often made Rude remarks about women gleefully calling them ugly and that having children was for women and not for men and in 2018 he said that he was fed up with the metoo movement like he was an and his racism and misogyny towards people of the Middle East was disgusting as well he was quoted as saying once one cannot even if there are decades between them kill millions of Jews so you can bring millions of their worst enemies in their place in relation to Middle Eastern Asylum seekers in Europe and specifically Germany but this is the problem with Carl on top of all of these horrible acts and things said he had to be deflecting his own truest insecurities about his life whether that was being the son of a card-carrying Nazi whether it was being a boy who had a poor relationship to food or being a man that created the image of women for decades but never once tried to understand their actual lives yes Carl was great in so many fashion-centric ways but as a person he never seemed to really develop kindness open-mindedness and love and so I question whether there ever really was even quote a line of beauty not in his Tweed suits his fur jackets or his pen strokes but in his heart and his mind this video doesn't really focus on a lot of what Carl said in his controversies and it's pretty short in terms of covering that only because there is a lot of coverage of it that has gone on and that I've read for years at this point which is great and it's smart and it is what needs to happen but this video is very fashion Centric because very few people really get into the nitty-gritty fashion so that's why this video is the way that it is it's not that I'm trying to minimize any of the controversy it's bad now Carl Lagerfeld died in February 19th 2019 due to pancreatic cancer at the age of 85 years old and so that leads us to the end of this video and to the Met Galen exhibition that will also tell his life story through clothing it's long and complicated both beautiful and ugly but regardless it needs to be told so that is the end of this Carl Lagerfeld video I I hope you guys all enjoyed you know a lot of time put into it very excited you know about the Mac Gallows per usual I will see you guys in the next one let me know what you think in the comments down below and TTY

Channel: HauteLeMode

Views: 265,788

Keywords: MET GALA, MET GALA 2023, Karl Lagerfeld, Met Gala Karl Lagerfeld, Met Gala 2023 Fashion, Met Gala 2023 Livestream, Karl Lagerfeld 2023, met gala blake lively, met gala 2023 live, karl, karl lagerfeld, karl lagerfeld interview, karl lagerfeld documentary, karl lagerfeld chanel, karl lagerfeld fashion show, chanel, fendi, balmain, chloe, patou, fashion history, hautelemode, hautelemode met gala, met gala hautelemode, met gala hautelemode 2023, hautelemode met gala 2023, 2023 met gala

Id: FrFvY8KczIM

Length: 66min 59sec (4019 seconds)

Published: Mon May 01 2023