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.
卡爾?拉格菲爾德(Karl Lagerfeld)不喜歡談?wù)撨^(guò)去。他不愿談及自己為芬迪(Fendi)效力的50年。1965年，他出任芬迪創(chuàng)意總監(jiān)，負(fù)責(zé)皮草及女性成衣設(shè)計(jì)；他也不愿詳述自己自1983年以來(lái)?yè)?dān)任香奈兒(Chanel)首席設(shè)計(jì)師32年的陳年往事。他甚至沒(méi)有出席在德國(guó)波恩舉辦的自己全部時(shí)裝作品回顧展“futurespective”：從他1954年獲得Woolmark設(shè)計(jì)獎(jiǎng)的那件外套的復(fù)制版到他為蔻依(Chloé)設(shè)計(jì)的首個(gè)時(shí)裝系列（他從1964年至1996年為其效力）；從一大群身穿香奈兒花呢套裝的人體模特、各式芬迪皮草時(shí)裝到他自己的同名品牌，可謂一應(yīng)俱全。