Becoming Karl Lagerfeld (2024)
The rise of the designer in the seventies: his bond with his mother, rivalry with Saint Laurent, problematic relationship with food, and lack of empathy. Controversies are left out, with a focus on psychology. Daniel Brühl is convincing.
At his death, Karl Lagerfeld was considered one of the most powerful and polarizing figures in the fashion industry. Famous for his intelligence, iconic personal style, and transformative vision at the helm of Chanel, Fendi, and his own label, the couturier left an indelible mark. He earned the nickname “Kaiser,” but his rise to power was long and troubled, which is the focus of the series Becoming Karl Lagerfeld, available on Disney+ from June 7. Divided into six parts, the story spans a decade, from 1972 to 1981, when Lagerfeld was still a relatively unknown prêt-à-porter designer, before fame and the haute couture adventure. And before revealing his controversial personality to the media and the public.
The series, based on the book “Kaiser Karl” by Raphaëlle Bacqué, is appreciated for its meticulous attention to aesthetic details, from the vibrant scenes of Parisian nightlife to intimate studio moments. The scenography, costumes, and production design bring the opulence of the seventies to life. “Becoming Karl Lagerfeld” does not address the well-known controversies surrounding the designer, instead choosing to focus on his psychology, perhaps attempting to understand the roots of his fatphobia, racism, and lack of empathy.
Daniel Brühl plays Lagerfeld convincingly, capturing the young designer’s ambition and the contradictions that swirled beneath the icy surface of his stern and unflappable face. Central to the narrative are the dynamics between Lagerfeld and key figures in his life. The ties to his mother, Elisabeth – played by Lisa Kreuzer – in a relationship that shaped his personal and professional life, his relationship with Jacques de Bascher – played by Théodore Pellerin in the series –, his rivalry with Yves Saint Laurent (Arnaud Valois), and consequently with Pierre Bergé (Alex Lutz).
On one side, de Bascher, an animalistic, volatile, and indolent erotomaniac; on the other, the aloof Lagerfeld, totally disinterested in physical pleasures, driven only by his need for revenge. Both ravenous, calculating, two fragile tyrants, slaves to their desires, two opposing forces stirring the Parisian scene. Then there’s the problematic relationship with food, the relapses – all sugar and regret – against self-imposed rules, the emotions suffocated in a tight sheath like that of the character: all to adhere to an ideal fit and role.
Thus, “Becoming Karl Lagerfeld” speaks more of power, desire, and redemption than fashion. From Marlene Dietrich and Loulou de la Falaise, Paloma Picasso, Andy Warhol to Thierry Mugler: there are no mere extras, each character is functional to the protagonist’s emancipation. In the finale, when he receives the crucial call from Chanel, what we see is a man driven by an incessant quest for approval and personal affirmation, who built the foundations for his status in the fashion system with his own and others’ vulnerabilities.
Silvia Cammertoni
Cinematografo, June 7, 2024
