Title: Unraveling the Enigmatic World of Karl Lagerfeld: A Journey Through His Iconic Homes
Fashion writer Patrick Mauriès had an intriguing encounter with the legendary fashion designer Karl Lagerfeld for the first time in 1981. This was after Mauriès referenced him in a book about contemporary fashion and culture. At that point, Lagerfeld had already designed for Chloé and Fendi but had not yet reached the iconic status he would later acquire when he took over as creative director at Chanel in 1983. Mauriès and Lagerfeld remained friends, with the writer fortunate enough to witness unique aspects of Lagerfeld’s private life and lavish abodes throughout their friendship.
Mauriès described these residences as epitomes of absolute luxury, revealing that even casual meals with Lagerfeld were accompanied by embroidered napkins. One of the first individuals Mauriès knew to use Diptyque candles extensively at home, Lagerfeld never settled for just one but instead surrounded himself with numerous candles.
The book “Karl Lagerfeld: A Life in Houses,” written by Mauriès and accompanied by texts from Marie Kalt, a former editor of Architectural Digest France, sheds light on the designer’s lesser-known side through rarely seen images of 13 contact properties. This visually engaging work delves into Lagerfeld’s distinctive sense of style, offering a profound understanding of his interior design preferences.
The early Parisian home of Lagerfeld on Rue de l’Université was adorned with Art Deco furniture and decorations, extending from the seating to the tableware. In 1977, Lagerfeld moved into Hôtel Pozzo di Borgo in Paris, where his residences exuded the elegance and grandeur of the Age of Enlightenment with intricate tapestries and gold accents. Mauriès noted that Lagerfeld frequently played with the spirit of each space while preserving traces of his German heritage as common threads.
In Monte Carlo, Lagerfeld was fascinated by the Memphis Group design school and adopted its vibrant colors, geometric shapes, and playful elements for his residence. The German hometown of Hamburg housed Lagerfeld’s Vila Jako, acquired in the early 1990s and filled with Swedish Grace design movement objects that bridged Art Nouveau and Modernism.
Mauriès emphasized that Lagerfeld’s interiors were diverse, ranging from antiquarian to ultra-modern, with each property reflecting a different atmosphere. While inspired by the past, Lagerfeld’s design aesthetic incorporated a sense of change and forward momentum that mirrored his fashion sensibilities.
As Lagerfeld gained more public recognition in the 1990s and 2000s, he sought homes that offered respite and served as sanctuaries for his creative process. Most of these properties have since been sold or dispersed, with some items auctioned off at notable sales. A 1991 Sotheby’s auction saw Lagerfeld’s Memphis Group collection fetch significant prices, while a posthumous auction of items from his estate consisted of 1,200 lots amassed from five Parisian and Monaco residences.
One property that Lagerfeld considered his home and which remains preserved is the 7L bookshop and photo studio he established in 1999 on Rue de Lille in Paris. Chanel acquired this property in 2001, transforming it into a tribute to the designer. Known for his extensive book collections and library creations, this space now hosts public events and offers bibliophiles customized reading room curation services.
Mauriès shared that “everything disappeared,” leaving a peculiar fate for Lagerfeld’s homes and possessions. However, this aligns with the designer’s philosophy as quoted in the book: “The most beautiful house is always the next one.”
Embracing the ethos of constant change, Lagerfeld’s approach to designing each home can be likened to creating a theatrical set. Once completed, his interest waned, and he moved on to create another unique environment. This process of reinvention also reflected Lagerfeld’s groundbreaking fashion design, from one season to the next, and his evolving personal style.
