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Photographed by Loic PrigentYour footage plays a central role in the Awesome luke combs minneapolis mn 2023 shirt Additionally,I will love this Met’s “Karl Lagerfeld: A Line of Beauty” exhibition. As well as historical footage from your many hours with Karl, you provided new content too. Can you run us through it? The exhibition uses footage of Karl’s hand, sketching. This is taken from a documentary I did entitled Karl Lagerfeld Sketches His Life, for Arte. It was a documentary I filmed without ever contradicting or interrupting Karl. So what you hear is his brain working without any impediment. He draws his childhood memories, and also describes his work. I think perhaps seeing this inspired Andrew Bolton to want to have the footage of Karl’s hand to signal his title, “A Line of Beauty,” and also to ask me to work on the further films for the show. To make these, Andrew traveled to Paris to film with me. We asked all the main houses in his oeuvre to explain and unpick some of Karl’s original sketches of outfits that are featured in the Met’s exhibition. So you can physically see the outfits at the same time as seeing the premieres analyzing the drawings, in a quite technical way. They address questions like how to translate Karl’s lines into clothing, and how they interpret what he has noted alongside on the papers: The premieres also deliver some good anecdotes about Karl’s obsession with elongating the torso and how technical he was. He was super, super-technical. And they describe how it was to work with him: how intimidating it could be but also how funny and how close he was to them. We filmed these interviews in Karl’s bookstore and studio, the very same place where I had filmed that 2013 documentary that Andrew first noticed. This was very moving for me—it was full circle.Karl Lagerfeld behind-the-scenes at a show.

Honestly, I have no idea. I was not a daily filmmaker. I was there for some of the Awesome luke combs minneapolis mn 2023 shirt Additionally,I will love this fashion shoots, some campaigns, and for some fittings—and sometimes during documentaries for longer. So some seasons I would see him more than others. There was not a contract or anything fixed, when he was available I would come. I guess I made a documentary every two years or so, but I’m not sure exactly. But I have a lot of footage!How did your impression of Karl evolve over the years? He was challenging to parse, and he threw in such a wide array of cultural references that he always struck me as a conversational gymnast! He was! When I started to film him I was observing this gymnast: he would mention all these references and everybody in the room would say ‘yes!’ ‘yes!’ But as I filmed him at the beginning I was thinking, ‘Sorry, I don’t know what this inspiration is. So should I ask and risk looking not cultured enough, or maybe even stupid?’ But I decided: ‘let’s ask him about this poet. I don’t know what he’s talking about and I’m in the presence of the Everest of fashion. So let’s ask. And if he’s not nice I won’t ask ever again.’ So I asked. And the next day Sebastian Jondeau arrives at my office and gives me a book about the poet. It was then I decided to always ask! Karl loved this mentor position, I think—and I loved being mentored by him. And what’s so nice is that after a few years, of course, you ask less because you start knowing the references that he is teaching. After fittings, I would go and buy a book about La Palatine or whichever 17th century princess he was mentioning that season. And after a while he would show me the little videos he was doing for Chanel of the collection—without the sound turned up—and he would explain to me all the hidden references. This was really funny to see, because he would fill them with intellectual gossip. It took me years to be able to start deciphering this universe of Karl, it was an education.

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