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BIOGRAPHY KARL LAGERFELD 
Visionary, eclectic, and iconic, Karl Lagerfeld would most certainly have been an enlightened mind in the Age of Enlightenment. As a fashion designer, photographer, publisher, designer, and also film director, Karl Lagerfeld has created a universe in which every line is perfectly under control, each detail of absolute importance. The Cartesian mind has hatched a caustic, ultramodern, highly structured style, with an allure and a manner that emerges through graphic symbols that have become his unequivocal hallmarks.
Karl Lagerfeld instinctively grasps every molecule from the atmosphere and turns it into the mood of the moment. His style delves deep into his cosmopolitan background and into his perfect mastery of languages, which he acquired in Hamburg, where he was born in 1938. As soon as he had finished his studies in Paris, he entered the world of fashion still a very young man, and in 1954 he won the Woolmark Prize. The coat he created for the occasion, which won over the jury, was made by Pierre Balmain, who recognized the young graduate’s talent and took him on as his new assistant. Three years later, Karl Lagerfeld was appointed artistic director of the Maison Jean Patou. Karl Lagerfeld is intriguing and ever-questioning, never leaving anyone indifferent. His ability to capture, anticipate, and interpret tomorrow’s trends always fascinates. Just when ready-to-wear fashions were first taking shape, he embarked on a career as a freelance fashion designer in France, Italy, Britain, and Germany. In Paris he left his marks on Chloé. In Rome he worked to give a new look to Fendi furs. His joint venture with the Italian fashion house started in 1965 and, over the years, extended to all the label’s ready-to-wear collections, and it is still going today. A chameleon of style, Karl Lagerfeld has nevertheless refined stylistic features of his own, which he works into his own eponymous line, which has been going since 1984. One year earlier, he had been called in to give new life to Chanel: he gradually shook up its stylistic elements, rejuvenated its image, and introduced a breath of fresh air that allowed the brand to reassert its supremacy in the world of luxury and fashion.

An insatiable couturier and designer, he again put his name to the Chloé collections from 1992 to 1997, and opened up a new chapter in his own name, launching the Lagerfeld Gallery in 1998 (the maison again adopted the name of its founder in 2006: Karl Lagerfeld). Always in tune with the world around him, he was the first to agree to take on the mass market, designing thirty models for H&M. This experience led to a new idea – a “new beginning”- which he started working on in 2010, announcing a collection for 2011 based on a new concept: mass-market ready-to-wear garments steeped in the luxury and quality of which the Lagerfeld’s style is a symbol: “mass elitism, which has long been my dream (…), it’s the future of modernity.”

“What I really like is what I’ve never done before”, says Karl Lagerfeld. Since he can never be content with the countless successes he has achieved in his fashion career, he has opened out his range of expression; creating opera costumes, revamping the Coca Cola Light bottle, and giving a new look to Medicom Toy’s Bearbrick and Steiff plush toys. In 1999 came the opening of his 7L bookshop and, the following year, his Editions 7L publishing company.In 1975 he wrote a new page of artistic expression with the Chloé perfume. His catalogue of olfactory sensations was later enhanced with Lagerfeld pour Homme (1978), Jako (1998), and Kapsule (2008), as well as Photo, in 1991, an insolent citrusy fragrance that appears to gesture towards Lagerfeld, who by then had been behind the lens for some years.

“Long before I decided to turn to photography myself, I had always been struck by the idea of expressing my vision of things through anonymous ‘machine’, as though it were a paintbrush or a pencil.”

Ever since then, Karl Lagerfeld has himself shot all the advertising campaigns for the brands he has worked for as a designer. Under his direction, Claudia Schiffer, Vanessa Paradis, Diane Kruger, and Lilly Allen, as well as les tops Freja Beha Erichsen, Coco Rocha, Elisa Sedanoui and Babtiste Giabiconi have revealed a different face and played new roles. His great passion for photography has led to several works being published by Steidl (including The Beauty of Violence in 2010) as well as of series for the great fashion magazines (Numéro, Vogue, …), information magazines (Vanity Fair, Stern,…) and specialized publications (Connaissance des Arts, Interview, …).“Today, photography is part of my life. I can’t see life without the vision of photography. I look at the world and at fashion with the eye of a camera. This enables me to maintain a critical detachment in my everyday work, which helps me more than I could ever have imagined.”

As well as for his sense of style and allure, Karl Lagerfeld is also in great demand for his sense of image and for the visual identity that so forcefully emerges from his printed works on paper. Whether he is photographing for advertising or fashion magazines, for an exhibition at Art Basel, at the Maiosn Européenne de la Photographie, at the palace of Versailles, in Tokyo or New York, or even in Berlin, his style is always instantly recognizable. “A highly personal vision of reality”, as Anne Cartier-Bresson puts it.

“Of all materials in the world, the one I like best is papers. It’s the starting point for a drawing and the finishing point for a photograph.”

With this taste for photography and this sense of stage direction, Karl Lagerfeld could not fail to be turned to as a director for the silver screen. The results of this new form of applied art – his short movies Remember Now, Vol de Jour, Shopping Fever and his latest, La Lettre – all reveal a certain idea of Lagerfeld’s aesthetic vision. A new facet of the fashion designer, and certainly a prelude to future projects…Karl Lagerfeld – Bibliography

Parcours de Travail, 2010; Beauty of Violence, 2010; Serge, Misia, Coco et les autres…, 2009; Moderne Mythologie, 2009; Chanel’s Russian connection, 2009; Mademoiselle – Coco Chanel / Summer 62, 2008; You Can Leave Your Hat On, 2008; Metamorphosis of an American, 2008; Visions and a Decision, 2007; Konkret Abstrakt Gesehen, 2007; Palazzo, 2007; One Man Shown, 2006; Room Service, 2006; 7 Fantasmes of a Woman, 2005; Les Vases de Ciboure. L’Illusion de l’ideal, 2005; A Portrait of Dorian Gray, 2005; Factory Constructivism, 2004; The S.L.ED, 2003; Waterdance/Bodywave, 2002; Abstrakt, 2000; Escape from Circumstances, 2000; Pari Pris, 1998; Tadao Ando – Vitra House, 1998; The House in the Trees, 1998; La Brochure, 1998; Casa Malaparte, 1998; Ein deutsches Haus / Villa Jako, 1997; Schlosshotel Vier Jahreszeiten, 1996; Visionen, 1996; Achillion, 1996; Grunewald, 1995; Villa de Noialles, 1995; Faust, 1995

 

Bookings: matt@thepool-london.com 
Promos: promo@gregwilson.co.uk 
DJ Dates: https://blog.gregwilson.co.uk/upcoming-dj-dates/
Greg began DJing in 1975 and is regarded as one of the most important figures on the UK dance scene. He enjoyed hugely popular residencies in the early eighties at Wigan Pier and Manchester’s majorly influential Legend, having originally started out in his hometown, New Brighton. A pioneer of mixing in the UK, he became the first ‘dance music’ specialist hired for a regular weekly session at Manchester’s now legendary Haçienda club in 1983. Greg was instrumental in breaking the new electronic, post-disco records coming out of New York, a sound he has dubbed ‘Electro-Funk’.

In 2003 he set up electrofunkroots, a website documenting this crucial era in the evolution of dance culture. After a two decade hiatus from the booth, he returned to DJing and soon welcomed bookings throughout Europe and, subsequently, worldwide.

Greg was the first DJ to mix live on British TV, putting together the first UK radio mixes of their type for Piccadilly 261 in Manchester and showing a certain Norman Cook (later Fatboy Slim) how to scratch.

Nominated by DJ Magazine for outstanding contribution, and also named amongst their top twenty remixers of all-time, Greg’s remix credits include Grace Jones, The XX, Groove Armada, Bryan Ferry, Confidence Man, Gilberto Gil and Simian Mobile Disco, whilst he’s edited tracks by A Guy Called Gerald, Talking Heads, O.M.D., Electronic, Imagination and Missy Elliot.

In January 2009 Greg’s reputation was further enhanced when his Essential Mix on BBC Radio 1 received almost universal acclaim and was selected as one of 10 classics that spanned the show’s near 17 year history.

Greg’s Blog, ‘Being A DJ’, was launched in June 2010 for observations on various aspects of club culture now an online touchstone for an ever-increasing amount of dance enthusiasts and aficionados.

In August 2010 he co-curated areas at the inaugural Vintage Festival at Goodwood, which was named ‘Best New Festival’ at the UK Festival Awards.

He has produced a series of documentary podcasts, Time Capsule, Random Influences and Early 80’s Floorfillers, as well as the long-running blog series, Living To Music.

Greg has given talks on music and DJ culture at a number events at venues The Tate Gallery in Liverpool and London's Southbank and Institute Of Contemporary Arts, whilst in 2013 he was invited onto a panel alongside legendary figures Nile Rodgers and Giorgio Moroder @ ADE in Amsterdam. 

In 2014 he unveiled the multi-media label Super Weird Substance, focusing on recording and live events. In 2015, the label released 8 vinyl singles, brought together in the 2 CD comp, 'Greg Wilson Presents Super Weird Substance'. September 2015 saw a memorable Festival No.6 Happening in Portmeirion and Greg rounded off the year with the Liverpool-based celebration of the 40th anniversary of his first club date in 1975 as well as being presented with DJ Magazine's Industry Icon award.

Greg launched his Credit To The Edit club collective at 2016's Festival No.6 and since then has taken it to Liverpool, Berlin, Brixton, Bethnal Green and finally back to Portmeirion for Festival No.6 2017.

2017 saw his label host the epic 14 Hour Super Weird Happening at Liverpool's Florrie, following a mixtape collaboration with Alan Moore, who also appeared at the Happening, whilst it also saw the digital release of The Super Weird Society's 'Gone With The Vibe', released the following year on the first Substance Select 12" vinyl alongside 'The Ghosts Of Watling Street', 'The Best Is Yet To Come' and 'Summer Came My Way'. 2018 also saw the release of Vol.3 in Greg's long-running Credit To The Edit compilation series.

After a handful of further releases, the label was put into hibernation with the onset of covid. Diversifying, ‘Greg Wilson’s Discotheque Archives’ was issued during 2020 lockdown as a limited run paperback, with more books, both Wilson’s own projects and by other authors, now planned.

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