MissMagAddict
Well-Known Member
- Joined
- Feb 2, 2005
- Messages
- 26,630
- Reaction score
- 1,309
KING: We're back with our remaining moments with Karl Lagerfeld -- we promise you more visits because there's so much to get into. So I just want to touch a couple other bases. What's hard about designing furs? A fur is a fur. Are there many things you can do with fur?
LAGERFELD: Oh, yes. Yes, and I mean without being pretentious, I think with Fendi we renewed the technique of fur in the '70s and early '80s. It was changed, because before it was quite stiff and not very modern and now fur is just another material. It looks like something knitted, something bold, but has nothing to do with the original skin it was. Because, you know, I don't like the butcher shop either with the animals hanging there. I think it all relates to skin so I prefer even not to see. I'm a very hypocrite for that I admit, but I love it as a material. I don't ask myself where those things are coming from but we do the same thing with food and clothing.
KING: Is there a 2002 style?
LAGERFELD: This I can answer as a question in a few years because in the middle of things, you can not answer because you have not the distance. What you think it is may be seen from the near future.
KING: In other words, we didn't know the '60s was the '60s until it was the '70s?
LAGERFELD: No. Exactly. So ask me that question in ten years.
KING: When we lived in the '60s, we didn't walk around saying this is the '60s.
LAGERFELD: No, exactly and look, remember in the '60s, there was a very sweet childish vision of the future, 2000 on the moon and all this. Look how 2000 looked. It was very different so one better forget about this kind of idea or one can use it as an inspiration for something for the moment. But there is no projection you can make. There is a mood of the moment. There is a spirit of times that you can not put that into words and say this is this and this is a final image. The final image other people will tell us what the final image is.
Most famous artists in their days are forgotten, no? And what was then unknown, uninvolved like impressionists, are the most famous now. So we better watch, live and see that later.
KING: Where were you on September 11?
LAGERFELD: In my private office in Paris.
KING: It was the afternoon there, right?
LAGERFELD: Yes, it was the afternoon and my secretary called and said "put on your TV." I said "but I don't want to be. I'm working." I said "what's going on? And so, I better have a look." And I pushed the button and I have in my office four big screens because I love TVs and also machines, the fax machine, and then I saw the horrible thing and I saw the second plane arriving. I mean this is something I will never forget, one of the most horrible images I think we all know.
KING: The world changed, obviously. Did you come to New York any time after that?
LAGERFELD: Not then because it was not on my list that I had to do but I wanted but I never did it, not because I was afraid or nothing, but I was very astonished how many American people like Anna (ph) (UNINTELLIGIBLE) came to Europe when it was not pleasant to travel, and continued to come to Europe, and I think I admired that a lot.
KING: Do you fear things now you didn't fear before?
LAGERFELD: I prefer not to think about it, because if not you are paralyzed. I prefer not to think about it because other people seem not to think about it too much because we have to go on. Life goes on. That's the thing, I mean with whatever happens, we have to go on.
KING: You're how old now, Karl?
LAGERFELD: Sixty-three.
KING: Sixty-three.
LAGERFELD: Yes, 64 in September, the day before 10th of September.
KING: Your birthday is September.
LAGERFELD: Yes, 10th.
KING: So you had just celebrated a birthday?
LAGERFELD: I never celebrate birthdays. You know after 30, I decided to stop that, so you can see I stopped that quite a long time ago already.
KING: You're an amazing man, thank you.
LAGERFELD: Nice to see you.
KING: Karl Lagerfeld, what can we say, it's a great pleasure having him with us and we thank him for joining us on this edition of LARRY KING LIVE; for Karl Lagerfeld, yours truly Larry King in New York, goodnight.
LAGERFELD: Oh, yes. Yes, and I mean without being pretentious, I think with Fendi we renewed the technique of fur in the '70s and early '80s. It was changed, because before it was quite stiff and not very modern and now fur is just another material. It looks like something knitted, something bold, but has nothing to do with the original skin it was. Because, you know, I don't like the butcher shop either with the animals hanging there. I think it all relates to skin so I prefer even not to see. I'm a very hypocrite for that I admit, but I love it as a material. I don't ask myself where those things are coming from but we do the same thing with food and clothing.
KING: Is there a 2002 style?
LAGERFELD: This I can answer as a question in a few years because in the middle of things, you can not answer because you have not the distance. What you think it is may be seen from the near future.
KING: In other words, we didn't know the '60s was the '60s until it was the '70s?
LAGERFELD: No. Exactly. So ask me that question in ten years.
KING: When we lived in the '60s, we didn't walk around saying this is the '60s.
LAGERFELD: No, exactly and look, remember in the '60s, there was a very sweet childish vision of the future, 2000 on the moon and all this. Look how 2000 looked. It was very different so one better forget about this kind of idea or one can use it as an inspiration for something for the moment. But there is no projection you can make. There is a mood of the moment. There is a spirit of times that you can not put that into words and say this is this and this is a final image. The final image other people will tell us what the final image is.
Most famous artists in their days are forgotten, no? And what was then unknown, uninvolved like impressionists, are the most famous now. So we better watch, live and see that later.
KING: Where were you on September 11?
LAGERFELD: In my private office in Paris.
KING: It was the afternoon there, right?
LAGERFELD: Yes, it was the afternoon and my secretary called and said "put on your TV." I said "but I don't want to be. I'm working." I said "what's going on? And so, I better have a look." And I pushed the button and I have in my office four big screens because I love TVs and also machines, the fax machine, and then I saw the horrible thing and I saw the second plane arriving. I mean this is something I will never forget, one of the most horrible images I think we all know.
KING: The world changed, obviously. Did you come to New York any time after that?
LAGERFELD: Not then because it was not on my list that I had to do but I wanted but I never did it, not because I was afraid or nothing, but I was very astonished how many American people like Anna (ph) (UNINTELLIGIBLE) came to Europe when it was not pleasant to travel, and continued to come to Europe, and I think I admired that a lot.
KING: Do you fear things now you didn't fear before?
LAGERFELD: I prefer not to think about it, because if not you are paralyzed. I prefer not to think about it because other people seem not to think about it too much because we have to go on. Life goes on. That's the thing, I mean with whatever happens, we have to go on.
KING: You're how old now, Karl?
LAGERFELD: Sixty-three.
KING: Sixty-three.
LAGERFELD: Yes, 64 in September, the day before 10th of September.
KING: Your birthday is September.
LAGERFELD: Yes, 10th.
KING: So you had just celebrated a birthday?
LAGERFELD: I never celebrate birthdays. You know after 30, I decided to stop that, so you can see I stopped that quite a long time ago already.
KING: You're an amazing man, thank you.
LAGERFELD: Nice to see you.
KING: Karl Lagerfeld, what can we say, it's a great pleasure having him with us and we thank him for joining us on this edition of LARRY KING LIVE; for Karl Lagerfeld, yours truly Larry King in New York, goodnight.
Michael who?
thanks!
Im loving it though yay!
