Karl Lagerfeld doesn’t like to talk about the past. He refuses to discuss his 50-year career with Fendi, for whom he was made creative director, in charge of fur and women’s ready-to-wear, in 1965. Neither will he dwell on his 32-year stewardship ofChanel, where he has been the chief designer since 1983. He hasn’t even been to visit his vast “futurespective” in Bonn, Germany, the most complete exhibition of his oeuvre ever mounted, featuring everything from a reproduction of the coat for which he was awarded the Woolmark prize for design in 1954, to his first collections for Chloé (for whom he worked between 1964 and 1996), and from a regiment of mannequins dressed in Chanel tweeds, through Fendi furs to pieces from his own eponymous line.
卡尔•拉格菲尔德(Karl Lagerfeld)不喜欢谈论过去。他不愿谈及自己为芬迪(Fendi)效力的50年。1965年，他出任芬迪创意总监，负责皮草及女性成衣设计；他也不愿详述自己自1983年以来担任香奈儿(Chanel)首席设计师32年的陈年往事。他甚至没有出席在德国波恩举办的自己全部时装作品回顾展“futurespective”：从他1954年获得Woolmark设计奖的那件外套的复制版到他为蔻依(Chloé)设计的首个时装系列（他从1964年至1996年为其效力）；从一大群身穿香奈儿花呢套装的人体模特、各式芬迪皮草时装到他自己的同名品牌，可谓一应俱全。