Analysis of information sources in references of the Wikipedia article "Karl Lagerfeld" in English language version.
Fashion designer Karl Lagerfeld was born on 10 September 1935, in Hamburg, Germany.
Lagerfeld...has brought back the Merry Widow corselet, whalebone stays and all.
As a screen-printing specialist with his own in-house printing department, Steidl is an expert in different varieties of paper and printing techniques. He and Lagerfeld met in the early 1990s. The designer once referred to him as 'the best printer in the world,' and was inspired to come up with a lot of new ideas through working with him. Lagerfeld published dozens of photography collections with the publishing house, starting in Off the Record in 1994.
Lagerfeld blazed the path for collaborations to become the mainstay they are today. Perhaps most memorably, he was responsible for the first of H&M's now hugely popular collaboration series back in 2004. [...] Based on the success of this first capsule collection, which sold out in minutes, Lagerfeld went on to collaborate with watchmaker Fossil, the department store Macy's, makeup brand Shu Uemura and even drinks giant Coca Cola in the following years (offering more affordable and accessible ways to purchase his creations). There's even a Karl Lagerfeld Barbie doll based on the designer's iconic style.
One of his passions outside of design was photography; Lagerfeld would often shoot Chanel's campaigns, and he also photographed editorials for magazines like V, Numéro, and Harper's Bazaar.
Karl Lagerfeld...is hailed as the ready-to‐wear world's major talent...
...[T]he most inventive designer in Paris...
...[I]t has been interesting to notice Karl Lagerfeld replacing Yves Saint Laurent as the favorite mentor of some American designers.
The most‐applauded collections...were those of the giants, Karl Lagerfeld for Chloe and Yves Saint Laurent.
Karl Lagerfeld for Chloé['s]...long‐term obsession with the nineteen‐thirties...
...Forties...shoulders...turn up [at]...Karl Lagerfeld of Chloe...
...Fendi...was designed by Karl Lagerfeld...Guess what he brought back? Tiny‐waisted fur coats with flaring skirts, that's what. Also Bermuda shorts and pedal-pushers and—get this — saddle shoes.
Chloe's Karl Lagerfeld...worked himself up from the 1940s to the 1950s.
The difference with Lagerfeld's things is that all inner construction, and practically all seams, have been eliminated, meaning no linings, no interfacing, not even any turned‐under hems—the fabric has simply been cut off at the bottom.
A designer's designer, he is watched carefully for his innovations, which are as technical as finding ways to avoid linings, eliminating seams whenever possible and finishing hems with overcast stitches instead of turned‐under hems. All this in the interest of keeping clothes light and fluid.
[H]e went on. 'You can't have bones and wires...If we go back to linings, then we are returning to the way things were, not looking ahead'.
Until [fall 1978], [Lagerfeld] did a lot of soft, contemporary clothes. They didn't impose their shape on the wearer. He simplified construction so the fabric just seemed to flow across the body.
[Azzedine Alaïa, Claude Montana, Thierry Mugler, Jean-Paul Gaultier, i]n these designers' collections, waistlines are usually taut, heels are high,...and, while the designers generally deny it, many of the clothes are restrictive.
Then, abruptly, came the change to a slimmer, more fitted look...padded shoulders, belted waistlines and narrow skirts...which was immediately dubbed 'retro' and sent other designers back to the 1950s...What made him change?...'The loose, layered look simply became messy,' he said. 'Free‐flowing clothes looked sloppy'.
Now, [Lagerfeld is] involved in something called shape. That means sleeves that curve outward like melons; the melon shape is repeated in many skirts. Cavalier jackets have peplums that jut out sharply from tightly belted waistlines. Carry on this line of reasoning and you...also have bustles. Yes, bustles.
Some were stunned by what they saw paraded before them: the above‐the-knee hemlines, the obviously padded shoulders, even on sweaters, the draped‐to‐one-side skirts with ruffled embellishment.
...[Karl Lagerfeld's] current fall collection is one of the most outrageous in its thrust of broad padded shoulders and aggressive sexiness.
His widely copied 'bustier'...has a foam base...
It was Lagerfeld who originally introduced the current [1979] silhouette of broad shoulders, nipped waist, curvy hip and short skirt.
...hobble skirts that are impossible to walk in...
[His models'] shoes had triangular-shaped, attenuated heels that threw their bodies out of line and made them walk with their rear ends sticking out awkwardly, not provocatively.
...hats the size of phonograph records tilted precariously to one side...
There has been a significant change in the fashion silhouette, one that started in an exaggerated way last fall when shoulders buffaloed out, skirt lengths went up, and clothes began pulling in to the body...even more exaggerated...in the cases of Parisian designers Karl Lagerfeld, Claude Montana and Thierry Mugler...
Lagerfeld...has had an almost lifelong preoccupation with...the 18th century
Karl Lagerfeld for Chloë is enamored of 18th‐century glamour...
The designer has long had a predilection for the 18th century, and the thigh‐high boots, cavalier blouses and loose smock dresses he made for fall seemed at home...
...Karl Lagerfeld...can fill a collection with 18th‐century elements and come up with completely contemporary clothes.
It was Lagerfeld who originally introduced the current silhouette of broad shoulders, nipped waist, curvy hip and short skirt.
Mr. Lagerfeld put on his models stiff cardboard‐looking headdresses that rose like half‐moons over their skinned-back hair. And he gave them black satin or patent‐leather leggings edged in silver piping and fastened with silver buttons.
...[V]ery short as well as very long skirts were represented.
...the new Long and Strong look – long skirts, shawls, wrap coats and lots of layers.
Lagerfeld has reintroduced the corset, in a version unappealingly severe...
...[A]lmost every outfit, from supple knitted dress to unconstructed jacket, had wrapped around its waist a wide corselet belt which used to be called a waist-nipper.
The sleeves have been shortened, and the jacket now barely conceals the waistline.
The...shoulders have been pushed out and padded.
The skirt has been narrowed and the hem hiked up to an above-the-knee level.
The Chanel...skirts have been shortened...Now they clear the knees....[T]he skirts are not only short but tight, causing the models to mince and wriggle rather than stride down the runway.
Hemlines barely cleared the knee, instead of descending two inches below as the late Gabrielle Chanel preferred and skirts were considerably skimpier.
His chief method at the moment is to pull everything as close to the body as is feasible, including the revered suits. Many dresses are so snug it would seem impossible for the mannequins to walk.
...slingback pumps revamped with a pointier toe and higher, curvier heel...
...[T]he black-toe pumps have greatly elevated heels...
The famous two-toned pumps were there..., though with higher, spindlier heels...
...[T]he quilted handbags stretched to new proportions. And the famous faux gold chains and pearls are poured on with a profusion that even Mlle. Chanel, a prodigious piler-oner of jewels herself, would never have suggested.
The famous quilted Chanel handbag has been enlarged to portfolio size...[N]ever have [Chanel's chains and pearls] been so massive. Rows of gold chains not only hang around the neck, but around the hips and wrists as well.
...[T]he quilted leather handbags...were almost suitcase size.
...[T]he miniaturized quilted Chanel handbags...look hardly big enough to hold a subway token.
...[T]he reaction of the professional buyers and press was decidedly mixed....Bernadine Morris...said the 'Chanel look has been vulgarized'...
...[T]he look sometimes appears to be a parody of itself...Quiet, unassuming clothes have been transformed into fairly arrogant styles. The Chanel look has been vulgarized...
The reworking of the revered suit – not to mention the whole collection, which included some pretty suggestive evening gowns – was the work of three former young assistants to Karl Lagerfeld, the Paris-based internationally renowned designer. The chief contributor was 25-year-old Herve Leger...[R]umors persist that [Lagerfeld] was the eminence grise behind it.
...[I]t has been rumored that [Lagerfeld] had something to do with the ready-to-wear presented this morning as part of the spring and summer showings here. Two former assistants, Herve Leger and Eva Compocassi, are actually credited with the clothes.
...[T]he House of Chanel...is in the hands of two young designers, Herve Leger and Marianne Oudin...Both are proteges of Karl Lagerfeld...
The miniskirt? 'Dégoütant' [disgusting], snapped Coco Chanel....And so Chanel stayed Chanel, with neatly fitted suits just covering the kneecap.
The walls of the Palais were lined with towering black and white portraits of Lagerfeld, from his youthful entry into Paris as the young German winner of the Woolmark Prize in 1954, through every phase of his climb, through Chloé in the '70s, Fendi, Chanel, and his own Karl Lagerfeld brand, to becoming the most famous fashion personality on the planet.
It was Lagerfeld who first took the shaping and the linings out of clothes...He also removed hemlines entirely to make clothes lighter and more easily layered.
'[Y]ou cannot go back to lined clothing, because...clothes today must be light and loose'.
'Women have gotten too sloppy in loose, oversized clothes. They've become too careless about themselves and they are no longer attractive,' he said...
His message is clear. He likes structured clothes with big shoulders, small waists, usually rounded a bit over the hips and tapered to the hem.
[Lagerfeld] started with football shoulder padding, since that was what he first found to use, scaling it down to wearable proportion.
...Lagerfeld...revived...the peplum suit with the narrow skirt....Now he has taken shapeliness one step further, rounding out the sleeve. Sometimes he uses padding to get the croissant or horn-of-plenty shaping...
Karl Lagerfeld sometimes pads the peplum to exaggerate the tiny waist and rounded hip look.
Lagerfeld loves...huge face-framing, fan-shaped hats...
...Karl Lagerfeld's strapless tops were boned and lined with fiberfill.
Karl Lagerfeld, who designs for Chloe, showed the shortest miniskirts....[H]is minis with padded shoulders...are a breed apart....His minis...were served up in three categories: a single layer that barely covered the fanny, and double-tiered and triple-tiered skirts that still stopped above the knee.
...French styles...are longer, fuller and more layered once again.
'It is not the old layering,' insists Karl Lagerfeld. 'It is weightless volume. Volume for movement, not for weight'.
...Lagerfeld has redesigned the girdle. It looks a bit like those back-support girdles sold by mail order from the backs of magazines. But these are often leather and stretch combined. Lagerfeld's girdle, which he puts over everything, including evening dresses, rises a bit above the waist but the emphasis is clearly over the hips.
'It would make no more sense to make a collection without pants anymore than a collection without skirts,' laughed Karl Lagerfeld at Chloé.
...Lagerfeld showed what he called his two-step – a skirt or dress over pants...
...[A]t Karl Lagerfeld, shoulder pads were removed from the shoulders and moved down to the hips...
The chance to buy $49 blouses and $129 sequined tuxedo jackets from one of the most famous designers on the planet not only unleashed retail pandemonium — it had a seismic effect on the entire fashion system: breaking down barriers between luxury and mass; democratizing design in a new way, and foreshadowing an era of rampant collaborations, drops and pop-up concepts.
...was actually a polyglot, speaking nine different languages, including Russian, and so was a genuinely successful businessman there...
