![]() He is really a big star in France.ĪNDRE: Do you feel that fashion today influences and is influenced by the other fine arts as was so apparent in the thirties? As Giacometti did buttons for Schiaparelli and Dali designed special prints for her–that type of collaborative creation–does fashion become an integral part of the social and cultural history? He’s a good friend of David Hockney also. I know he loves France and stays at Tony Richardson’s place very often. Jack Nicholson is very popular in France and it was nice to see him. They had this very clever, clever, evil raffine look. JACQUES: Some of the nicest people we saw in Los Angeles were Tina Charles and her sister. KARL: I notice over there (in California) they never use the word tacky, they all say trash all the time. JACQUES: They were over, over, over-dressed. KARL: All those rich ladies who belong to the charities, they were more dressed than we were, my dear! Overdressed people, they just stared at us. What we were wearing was very foreign to them. JACQUES: The seem to be very happy with their clothes, that’s the most important thing. KARL: It’s a technicolor country, very technicolor. JACQUES: The light made all colors like Kodachromes. ![]() KARL: What I like the best in California is the air. You remember the famous story of Marie de Noailles going to Madame Lopez’s house and saying, “It’s very clean!’ KARL: I wouldn’t want to own any of them but they are very well kept. It’s fascinatingly plastic.ĪNDRE: Do you like the houses in California? KARL: I think there is a bigger difference between California and New York than between New York and Paris. Everybody tells you about New York, you see so many pictures, but when you are here finally you are not surprised because it’s exactly the way you suspected it.ĪNDRE: What are all your impressions of California? When I came to New York, I had the feeling I was only here a week ago. KARL: Since I came here twenty-five years ago?ĪNDRE: No, since your arrival here to launch your new fragrance, Chloe, and present your first formal collection to New York and Los Angeles? I came nearly with half-empty suitcases to have space for all the new books.ĪNDRE: How does the big-ness of America influence you? The three team members were intelligent, articulate, generous and above all genuinely courteous and, Karl, Jacques, and Jose loved the enthusiasm of the people in New York’s floating fashion galaxy.ĪNDRE: Just as Pauline de Rothschild, you travel with as many books as you do clothes? With the Lagerfeld equipe, one never experienced the sleek stench of inaccessible chic of many of the worldly-renown fashion cliques and families. A jar of French mustard floated from suite to suite to bounce up the special diet of bland, boiled, blanched food which the doctor ordered to help Karl kick his habit which almost poisoned him-20 years of drinking 10-15 bottles of Coca Cola a day. Subdued Jose de Sarasola, the business mind of the team, balanced the bills on downtown shopping junkets where the equipe acquired American bargains such as a limousine full of surplus uniform shirts, cycling shorts, paratrooper suits for weekly country excursions. There were romantic tales of Anna Piaggi, the modern embodiment of the 18th century, who changes 4 times a day into an authentic 18th-century dress when vacationing at the Chateau Grandchamp. de Stael, the one feminine writer of the 18th century that was significant in formulating the ideas of The Age of Enlightenment. Sprawled around Karl’s suite of rooms were regimented traveling cases that housed silk pajamas as well as massive hard-bound books. Jacques de Bascher, Karl’s aide-de-camp and friend had 7 pieces of luggage alone. Such is the case with Karl Lagerfeld, the genius, who pours silk over the body with the same distinction as he poured his new fragrance Chloe-on America while here to launch it with the expertise of Elizabeth Arden. The electric dress popped right into the Sixties with the same flash as any media happening, Man Ray-the surrealist painter-was a blazing force in fashion photography at its 20th-century inception, the aesthetic beauty of a Dunand vase or a cloisonne-stained window can be adapted to functional clothes. This can often be a collective exercise coupled with the individual instinct and feedback from the designer’s environment, education, or cultural phenomena. Those responsible for creating style: artists, artists, illustrators poets, designers, often manifest outwardly their innermost expressions of creativity. In honor of the opening of the Karl Lagerfeld: A Line of Beauty exhibit at the Met Costume Institute on Sunday, we revisit this conversation between André Leon Talley and the extraordinary designer from the Kaiser’s first visit to New York City in 1975.įashion and style in any decade must transcend the world of fashion.
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