The Bite Magazine - Spring/Summer 2024 - Issue 35

bitedesignerprofile The creative polymath played an aristocratic German in Andy Warhol’s 1973 film L’Amour. He described it as “the most child- ish moviemaking ever” in 2015. The film, co-written by Andy Warhol and Paul Morrissey, was about two American hippies’ pursuit of love in Paris. One falls for a businessman who wants to marry her as long as she accepts sharing him with a local gigolo, Max. According to The Guardian , some scenes were filmed in Lagerfeld’s Parisian apartment. Two years later, Lagerfeld launched an original scent for Chloé and was dubbed the first designer to do so without having a label. The feminine and romantic perfume with an intensive floral aroma consisted of honeysuckle, orange blossom, ylang- ylang, hyacinth, lilac, coconut, bergamot, aldehydes and juicy peach top notes. The brand described it as representing wom- en’s ambition, authenticity, independence, lightness, sensuality and femininity. In 1982, Chanel chairman Alain Wertheimer asked him to design for the house. Lagerfeld told The New York Times, “Everybody said, ‘Don’t touch it, it’s dead, it will never come back.’ But by then, I thought it was a challenge.” At the time, the French fashion house struggled to maintain its relevance. After becoming creative director the following year, Lager- feld revitalised Chanel by infusing the brand with a modern, edgy sensibility while staying true to Coco Chanel’s timeless elegance. He introduced the interlocking CC logo. His innovative run- way shows became legendary events often held in extravagant settings. One of his most memorable Chanel collections was the Spring-Summer 94, featuring vibrant, youthful designs that broke away from the traditional Chanel aesthetic. The FW14 collection set in a faux supermarket highlighted his expertise in turning everyday experiences into extraordinary fashion moments with the models walking down aisles filled with Chanel-branded groceries. In 1984, Lagerfeld created his eponymous label. “I’ve not been dreaming all my life to have my name over a shop,” he told Vogue. “Now, we’ll put it there because it’s the right moment to do it, and I made this name; why not use it?” Through his pho- tography, he created regular photo shoots for Harper’s Bazaar. Chanel image director Eric Pfrunder told WWD in 2015, “Karl has an eye. He’s not taking 300 shots. He’s doing five, maybe six. Generally, it’s the first frame that is the best. He’s very fast because he has one vision, and that’s it.”