Valerie McPhail
MSMU Class of 2015

(3/2019) At 85 years old, Karl Lagerfeld, the legendary fashion designer for the House of Chanel, was pronounced dead at The American Hospital of Paris on the morning of Tuesday, February 19th. Reports confirmed the cause of death was pancreatic cancer.

Lagerfeld, known as Karl in the industry, was a phenomenon. At the loss of a fashion maverick and cultural icon, we also say farewell to a fashion period, with which he carried dominance. With commemoration, co-founder of fashion and female empowerment blog, Man Repeller, Leandra Medine wrote: "He believed in a divisive fashion industry, and even though that belief is currently dated, he stood by it; he committed to it, until the very last minute. There was an unapologeticism about him that — combined with the tremendous ripple effect of his impact — enabled a separation between him and his work, right or wrong."

Death has a way of leading one to reflect. Upon consideration, we have lost a pertinent perspective. No longer are there spearheads in the fashion industry the way Lagerfeld created. Agreeing that he lent a voice in the fashion industry that has now become virtually extinct, his legacy doesn't end lacking. In a world where fashion commentary comes from the narrative of the youth — their opinions and success stories monopolizing the industry — Karl Lagerfeld operated differently. With criticism, unpopular opinion and audacity, the designer created a career out of places the majority wouldn't dare to engage. When the media proposed positive opinion and adoration around celebrity, Lagerfeld shared his not so glamorous regards. While the press pursued stories that supported female body positivity for all shapes and sizes, Karl Lagerfeld said that British singer Adele "is a little too fat." Lagerfeld also addressed the royal family at a time of their media fame and obsession. Commenting on Pippa Middleton, he remarked, " I don't like the sisters’ face. She should only show her back." We know these are his opinions because he boldly shared them. He criticized his cultured industry with expectation for more.

However, after all the attention and noise around his vocalized opinions, the media persona that rivaled was a concluded pretense, in actuality he was an inventor. If his public figure was a mystery, the heart of Lagerfeld could be found in his work, clothing designs for Fendi, Chanel, and his own namesake brand, Karl Lagerfeld.

First came Fendi in 1965. Working as a freelancer by the family, he and Fendi sisters, Franca, Anna, Paola, Carla, and Alda, successfully built the fur and women's fashion market for the Italian label. But that was just the beginning. This intimate relationship became the crux for the 'longest fashion collaboration of history.' In a report published by Harper's Bazaar on the relationship between Lagerfeld and the brand, the designer shared, "I'm not on an ego trip. I'm only interested in the craft and the design and to work with people I enjoy." He must have enjoyed working as a fashion designer, for after assuming the Creative Director title he took on more work. Remaining with Fendi, in the year 1983, he joined the House of Chanel as head designer to cater to the struggling presence of the brand after the death of Madame Coco. At Chanel, Lagerfeld resurfaced the iconic pieces of the brand, the little black dress, and the tweed jacket to prominence. A year later he launched his brand name, Karl Lagerfeld.

Juggling, as one does with talent, the German designer cultivated a presence respected unlike any other. His white ponytail, large square black sunglasses, suits, and skinny tie look remains a distinguished figure across fashion cities and into pop cultural reference. The image, along with playful kitty shapes as an accolade to Choupette, the designer's cat, became a statement of his label sold in suburbia shopping towers: Bloomingdales, Lord & Taylor and Saks. While Fendi and Chanel showed extravagant couture shows on the fashion week calendar, the Karl Lagerfeld brand expressed a subdued, black uniform collection of design on the runway with off - motorcycle gloves, and leather tote bags, graphic t-shirts, and A-line dresses. The opulence of the Houses he took under his care contrasted with the commercial brand he showed on the runway under his name. This reality is a story the media should have chased, rather than focus on his fearless commentary. After all, most of fashion is for the show.

A lot of fashion - its work, culture and industry are also consumed with discipline and dedication. Karl Lagerfeld's career revealed this reality. In his early thirties, he started at the House of Fendi, and only after years of devotion to the brand did he become the beloved white-haired fashion figure known to those in and out of the industry. Without having any personal engagement with the designer and minimal interaction with Chanel and Fendi fashions, through reports, vintage stores, and friends who own the classic boy chain-linked Chanel handbag have I come to know the brand labels he dedicated his career to. I can confidently exclaim that clothing speaks through form, color, and style. Time after time, season after season an element of surprise, evoking a feeling of anticipation rides fashion week as designers release their collections. Lagerfeld evoked this feeling upon fashion editors through risk on the runway — Moana Pozzi and strippers walking his 1993 collection for Fendi — when he wasn't vocalizing his opinions. His criticisms came from the expectations he built his successful career on. Fashion and its shows are only as scandalous as its creator.

Just as James Joyce criticized his local church, I see a comparison relating to Karl Lagerfeld, who demanded the fashion industry. Both passionate legends employed criticism to further the success of their devotions. For Joyce, it was the Church and for Lagerfeld, fashion and culture. In modern day, they are relational with mutual interest. And their fascination with one another is reciprocal.

Show of personal expression or show for approval: Lagerfeld recognized that clothing was an approach for how people engaged with themselves and others. One could wear the knit dress because it makes them happy, evoking an emotional response, and for other reasons, because people will see them wearing Chanel and relate to them socially or as a magnet, appealing to current fascination and trend. In memory of Karl Lagerfeld, we can pursue fashion among our routine lives so that it becomes an expressional statement of our existence. That is fashion worth reporting and designing.