1 00:00:01,000 --> 00:00:02,000 This series is loosely inspired by the life of Karl Lagerfeld. 2 00:00:02,080 --> 00:00:03,080 Some of the characters, their intimate and professional relationships, 3 00:00:03,160 --> 00:00:04,160 their actions and statements, places, incidents and events, 4 00:00:04,240 --> 00:00:05,240 as well as artistic creations 5 00:00:05,320 --> 00:00:06,320 have been invented or altered by the authors for dramatic purposes. 6 00:00:06,400 --> 00:00:07,400 In the case of such invention or alteration, 7 00:00:07,480 --> 00:00:08,480 any similarity to the actual character or history of any person 8 00:00:08,560 --> 00:00:09,600 is entirely for dramatic purposes 9 00:00:09,680 --> 00:00:10,680 and is not intended to reflect an actual character or their history. 10 00:00:12,120 --> 00:00:15,000 SPRING 1978 11 00:00:16,800 --> 00:00:18,480 [woman on recording] Karl Lagerfeld, hello. 12 00:00:18,560 --> 00:00:22,040 One could say that you're now the star of international fashion. 13 00:00:22,120 --> 00:00:24,040 [Karl on recording] Star? I don't know, but it's true 14 00:00:24,120 --> 00:00:26,680 I've been sleeping in planes more often than my own bed lately. 15 00:00:26,760 --> 00:00:28,320 [upbeat Italian music playing] 16 00:00:42,000 --> 00:00:43,080 Nice bag, huh? 17 00:00:44,480 --> 00:00:46,720 -Was that one of yours? -Certo. 18 00:00:46,800 --> 00:00:48,440 -Here? -Yes. 19 00:00:48,520 --> 00:00:50,360 [Karl on recording] I'm nothing but a streetwalker. 20 00:00:50,440 --> 00:00:51,560 [woman in recording laughing] 21 00:00:51,640 --> 00:00:53,600 [Karl on recording] I am. And it's nearly impossible 22 00:00:53,680 --> 00:00:56,160 to be so busy, always promoting one's product. 23 00:00:56,760 --> 00:01:00,120 [woman on recording] How long have you been on this worldwide promotional tour? 24 00:01:00,200 --> 00:01:03,680 [Karl on recording] It was supposed to be ten days. Now it's been three weeks. 25 00:01:03,760 --> 00:01:06,560 All the big cities want to have their Chloé shop. 26 00:01:09,200 --> 00:01:12,720 Yesterday, bagels in New York. Today, pasticcino in Rome. 27 00:01:12,800 --> 00:01:14,320 The real cure for jet lag, hmm? 28 00:01:14,400 --> 00:01:15,400 Hmm. 29 00:01:17,520 --> 00:01:20,000 So will that be Miss Picasso's wedding dress? 30 00:01:20,080 --> 00:01:22,040 [Karl] Yes, the evening one. 31 00:01:22,120 --> 00:01:23,200 It's theatrical. 32 00:01:26,240 --> 00:01:28,320 Yeah, well, I'm just getting started. 33 00:01:28,400 --> 00:01:29,800 This isn't a wedding dress. 34 00:01:29,880 --> 00:01:31,160 It's a manifesto. 35 00:01:33,760 --> 00:01:34,760 Perfect. 36 00:01:36,280 --> 00:01:37,880 Beautiful. 37 00:01:37,960 --> 00:01:40,160 Do you know what Saint Laurent's doing for his day dress? 38 00:01:41,040 --> 00:01:42,040 I'm not worried. 39 00:01:43,000 --> 00:01:44,000 Oh. 40 00:01:46,240 --> 00:01:48,480 -We'll be late. Time to go. -I'll let you go ahead. 41 00:01:49,760 --> 00:01:51,320 I'll stay for a bit. 42 00:01:51,400 --> 00:01:53,160 But what about the Fendis? 43 00:01:53,240 --> 00:01:55,800 I need to run an errand. They can wait. 44 00:01:56,520 --> 00:01:59,480 Fine. I'll see you over there. 45 00:01:59,560 --> 00:02:00,560 Hmm. 46 00:02:01,600 --> 00:02:04,200 [woman on recording] And you never forget that fashion needs to sell 47 00:02:04,280 --> 00:02:05,800 above anything else. 48 00:02:05,880 --> 00:02:08,320 [Karl on recording] Of course. I make dresses, not poetry. 49 00:02:09,160 --> 00:02:12,160 [woman on recording] The main problem is not that you might run out of ideas, 50 00:02:12,240 --> 00:02:14,760 but that you have to be stopped. [chuckles] 51 00:02:14,840 --> 00:02:17,360 [Karl on recording] No. Uh, back when I was working on haute couture, 52 00:02:17,440 --> 00:02:20,840 I turned up 50 dresses twice a year, it wasn't enough for me. 53 00:02:21,680 --> 00:02:23,000 I was bored to death. 54 00:02:23,080 --> 00:02:24,120 [breathing heavily] 55 00:02:24,200 --> 00:02:25,480 [Karl on recording] I need to work. 56 00:02:25,560 --> 00:02:27,840 -Drawing is like breathing to me. -[Elisabeth straining] 57 00:02:27,920 --> 00:02:30,040 [Karl on recording] I have no responsibility but my work. 58 00:02:30,120 --> 00:02:31,160 [groaning] 59 00:02:31,240 --> 00:02:33,320 [Karl on recording] And I like to do only that. 60 00:02:33,400 --> 00:02:34,440 [straining] 61 00:02:34,520 --> 00:02:35,640 [thud] 62 00:02:40,720 --> 00:02:42,200 [♪ choral music playing] 63 00:02:56,360 --> 00:02:58,160 [♪ soft instrumental music playing] 64 00:03:02,320 --> 00:03:03,440 You're here. 65 00:03:03,520 --> 00:03:05,600 Between three flights and two appointments. 66 00:03:08,240 --> 00:03:10,080 You mentioned this was your canteen. 67 00:03:10,160 --> 00:03:12,520 -So I took a chance. -Of course. 68 00:03:16,080 --> 00:03:18,360 Do you know Xavier de Castella? He's with Kenzo. 69 00:03:18,440 --> 00:03:20,640 -Ah, yes, of course. -Hello, Karl. 70 00:03:20,720 --> 00:03:23,440 And here's Gianni. He's our friend for the day. 71 00:03:23,520 --> 00:03:25,680 Can't understand him because he only speaks Italian, 72 00:03:25,760 --> 00:03:27,960 but he's pretty, so there you go. 73 00:03:28,040 --> 00:03:29,440 [speaking Italian] 74 00:03:32,400 --> 00:03:33,560 [chuckles] 75 00:03:34,840 --> 00:03:36,240 [in English] Can we talk a bit? 76 00:03:37,360 --> 00:03:38,600 Sure. 77 00:03:40,720 --> 00:03:42,400 How's it going with Xavier? 78 00:03:44,920 --> 00:03:46,320 He's like a brother. 79 00:03:47,640 --> 00:03:49,640 I'm just asking how the trip has been. 80 00:03:50,760 --> 00:03:51,840 Good. 81 00:03:54,840 --> 00:03:56,000 And you? 82 00:03:56,960 --> 00:03:58,680 Impromptu visits are surprising. 83 00:04:08,040 --> 00:04:10,920 YOU ARE INVITED TO THE WEDDING OF PALOMA AND RAFAEL 84 00:04:11,000 --> 00:04:14,200 A Picasso wedding invite. Wow. 85 00:04:14,280 --> 00:04:16,080 Well, I didn't give her a choice. 86 00:04:17,200 --> 00:04:19,120 The reception is at my place. 87 00:04:19,200 --> 00:04:20,680 And I want you there. 88 00:04:25,080 --> 00:04:27,040 Will Pierre and Yves be there? 89 00:04:28,000 --> 00:04:30,160 They're at the head table with us, yes. 90 00:04:30,240 --> 00:04:35,200 I'll make them feast on my success as an entrée, main and dessert. 91 00:04:35,280 --> 00:04:36,880 I hope they can digest it. 92 00:04:42,440 --> 00:04:43,520 I'm good. 93 00:04:44,520 --> 00:04:46,520 I'm keeping my promises. 94 00:04:47,200 --> 00:04:50,480 I'm not asking you to stop traveling, or to give up your friends. 95 00:04:50,560 --> 00:04:52,360 We're good, aren't we, Karl? 96 00:04:53,200 --> 00:04:56,000 We're at the right distance. Not too far or close. 97 00:04:57,320 --> 00:04:59,240 This isn't a step back. 98 00:04:59,320 --> 00:05:01,440 This is revenge. For us. 99 00:05:02,400 --> 00:05:04,920 I have no success to feed Pierre and Yves, Karl. 100 00:05:05,000 --> 00:05:06,600 And what have I achieved 101 00:05:06,680 --> 00:05:09,080 if I keep nothing around me? 102 00:05:09,720 --> 00:05:12,240 If you're not there, then Pierre and Yves have won. 103 00:05:13,160 --> 00:05:15,000 [♪ soft instrumental music playing] 104 00:05:15,640 --> 00:05:17,000 I'll go one day. 105 00:05:17,960 --> 00:05:20,560 She won't be getting married every month. Paloma. 106 00:05:20,640 --> 00:05:22,640 I'm still here for you, okay? 107 00:05:22,720 --> 00:05:26,080 Just like you were there for me through the death of my father. 108 00:05:29,280 --> 00:05:31,960 Don't ask me to go back into your shadow, Karl. 109 00:05:32,880 --> 00:05:36,240 The day I finally come back to the crab basket, 110 00:05:36,320 --> 00:05:38,440 I want it to be after I've done something I'm proud of, 111 00:05:38,520 --> 00:05:41,320 so when I'm still with you, I can exist on my own. 112 00:05:41,400 --> 00:05:42,760 So when is that? 113 00:05:42,840 --> 00:05:46,040 Karl. You're number one in the U.S., rich as Croesus. 114 00:05:46,120 --> 00:05:47,160 You don't need me. 115 00:05:47,240 --> 00:05:50,080 So you're not in my shadow, but you'll take my money? 116 00:05:51,480 --> 00:05:53,280 Do you want it back? 117 00:05:53,360 --> 00:05:55,360 Because Xavier is filthy rich. 118 00:05:58,680 --> 00:05:59,760 No. 119 00:06:01,680 --> 00:06:03,080 I have to go anyway. 120 00:06:19,760 --> 00:06:20,960 No, I don't mind this one. 121 00:06:21,040 --> 00:06:23,400 -Do you know where he is? -Oh, he's just a little late, yes. 122 00:06:24,240 --> 00:06:26,440 Oh! There he is... 123 00:06:26,520 --> 00:06:27,600 [speaking Italian] Excuse me. 124 00:06:27,680 --> 00:06:30,200 -[in English] I was unexpectedly delayed. -[woman] Nothing important? 125 00:06:30,280 --> 00:06:32,520 [Karl] No, the only important thing is work. 126 00:06:32,600 --> 00:06:33,840 Is Rosemarie here? 127 00:06:33,920 --> 00:06:37,480 Uh, she went to answer a call from someone trying to reach you in Paris. 128 00:06:39,120 --> 00:06:41,280 All right. The campaign for the collection. 129 00:06:41,360 --> 00:06:43,200 Who do we want as the photographer? 130 00:06:43,280 --> 00:06:47,000 Rosemarie told us that you were going to design a wedding gown for Paloma Picasso. 131 00:06:47,080 --> 00:06:48,200 Mmm-hmm. 132 00:06:48,280 --> 00:06:49,840 In competition with Yves Saint Laurent. 133 00:06:49,920 --> 00:06:52,320 -Never compare, never compete, hmm? -[all chuckling] 134 00:06:52,400 --> 00:06:54,960 [Anna] Yes, but we both know your dress will be better. 135 00:06:55,040 --> 00:06:56,720 The whole world will be watching. 136 00:06:57,480 --> 00:07:00,200 Not the whole world, unfortunately. 137 00:07:01,560 --> 00:07:03,000 [Carla Fendi] I really like this one. 138 00:07:03,640 --> 00:07:05,480 [woman speaking indistinctly] 139 00:07:05,560 --> 00:07:06,840 Ah. 140 00:07:13,440 --> 00:07:15,240 I think we need to go back to Paris. 141 00:07:16,400 --> 00:07:17,480 Paris? 142 00:07:21,600 --> 00:07:23,000 [♪ somber music playing] 143 00:07:46,560 --> 00:07:48,640 Thank you all. This means a lot. 144 00:07:48,720 --> 00:07:49,920 How is Madame? 145 00:07:51,800 --> 00:07:53,960 For right now, she's been placed in a coma 146 00:07:54,040 --> 00:07:56,720 so that her body can get enough rest and we'll wake her up tomorrow. 147 00:07:56,800 --> 00:08:00,600 If it goes well, then we'll know the extent of the damage. 148 00:08:00,680 --> 00:08:02,280 The house will be ready, Monsieur. 149 00:08:03,320 --> 00:08:05,280 All right. We all have our things to do. 150 00:08:05,360 --> 00:08:07,080 Let's get to work. Merci. 151 00:08:09,080 --> 00:08:10,840 -Uh, Monika. -Yes, Monsieur? 152 00:08:11,680 --> 00:08:14,520 I know that every second counts when it comes to a stroke. 153 00:08:14,600 --> 00:08:18,320 If she pulls through without too many side effects, it'll be thanks to you. 154 00:08:20,720 --> 00:08:22,240 We're never truly prepared. 155 00:08:23,280 --> 00:08:24,440 [Monika] No. 156 00:08:28,760 --> 00:08:31,760 Monsieur, you have Mademoiselle Picasso and her fiancé waiting for you. 157 00:08:31,840 --> 00:08:34,080 They're here for the wedding preparations. 158 00:08:35,960 --> 00:08:36,960 [sniffs] 159 00:08:38,720 --> 00:08:40,240 [Paloma speaking indistinctly] 160 00:08:41,000 --> 00:08:43,720 -[Paloma] Ah! -Look at you, you're absolutely glowing. 161 00:08:43,800 --> 00:08:46,000 I thought you'd forgotten about us. 162 00:08:46,080 --> 00:08:47,280 Absolutely. 163 00:08:48,240 --> 00:08:49,640 So much so that... 164 00:08:50,960 --> 00:08:52,880 -Rafael... -Si. 165 00:08:52,960 --> 00:08:55,720 One, two, three. 166 00:08:57,640 --> 00:08:58,800 [gasps] 167 00:08:58,880 --> 00:09:00,480 I had my assistant throw this together. 168 00:09:01,000 --> 00:09:02,560 You see the little cards? 169 00:09:02,640 --> 00:09:05,680 Give me the guest list when it's ready, and we'll place them. 170 00:09:05,760 --> 00:09:06,920 The list? 171 00:09:08,120 --> 00:09:09,600 Look, that's us. 172 00:09:09,680 --> 00:09:11,880 Mmm-hmm. Loulou and Alexandre, perfect. 173 00:09:11,960 --> 00:09:13,080 I wanted them to meet. 174 00:09:13,720 --> 00:09:16,600 Family there. And Mother... 175 00:09:18,120 --> 00:09:20,280 [♪ somber music playing] 176 00:09:26,800 --> 00:09:29,000 [Paloma] Let us know if Jacques is coming. 177 00:09:32,400 --> 00:09:33,560 What about this? 178 00:09:35,000 --> 00:09:37,000 [phone ringing] 179 00:09:47,240 --> 00:09:48,280 Hello? 180 00:09:50,720 --> 00:09:51,800 What? 181 00:09:54,000 --> 00:09:56,880 Scuzi, scuzi, uh, I don't understand. 182 00:09:56,960 --> 00:09:58,280 Who's calling me? 183 00:10:01,920 --> 00:10:03,920 [♪ slow instrumental music playing] 184 00:10:39,720 --> 00:10:40,720 [door opens] 185 00:10:41,400 --> 00:10:44,080 Bene. Italiano? English? 186 00:10:44,160 --> 00:10:45,160 Uh, English. 187 00:10:45,240 --> 00:10:47,720 [chuckles] Someone got you something to drink? 188 00:10:47,800 --> 00:10:49,000 -Coffee? -Coffee, yeah. 189 00:10:49,080 --> 00:10:51,560 -It's good. -Great. Carla Fendi. Sister number four. 190 00:10:52,480 --> 00:10:53,480 Jacques. 191 00:10:53,560 --> 00:10:55,360 [Carla Fendi] Thank you for coming all this way. 192 00:10:55,440 --> 00:10:57,080 Are you enjoying Rome? 193 00:10:57,160 --> 00:10:58,440 -Yes. -[Carla clears throat] 194 00:11:01,600 --> 00:11:02,960 So... [clears throat] 195 00:11:04,960 --> 00:11:09,240 We are about to start the ad campaign to launch our Ready-to-wear clothing line. 196 00:11:10,280 --> 00:11:11,640 Oh. 197 00:11:12,400 --> 00:11:14,600 You are familiar with the brand? 198 00:11:16,120 --> 00:11:17,800 Somewhat, yeah. 199 00:11:17,880 --> 00:11:18,880 [chuckles softly] 200 00:11:19,720 --> 00:11:23,880 We want to update our image. Something more modern, more unexpected. 201 00:11:23,960 --> 00:11:24,960 Mmm. 202 00:11:25,040 --> 00:11:29,520 We are looking for a new photographer, someone with a fresh pair of eyes. 203 00:11:29,600 --> 00:11:33,440 Young, but in line with the Fendi tradition, of course. 204 00:11:33,520 --> 00:11:34,680 Okay. 205 00:11:37,000 --> 00:11:41,000 And you are asking me if I know a photographer or... 206 00:11:41,800 --> 00:11:43,080 [chuckles] No. 207 00:11:43,160 --> 00:11:46,080 Karl called me last night and he suggested you. 208 00:11:49,120 --> 00:11:50,600 Okay, me? [chuckling] 209 00:11:50,680 --> 00:11:54,520 He thinks you're the perfect person to reinvent the image of Fendi. 210 00:11:54,600 --> 00:11:56,840 -Okay. -[Carla Fendi] His words. 211 00:11:58,320 --> 00:12:02,320 I mean, I know nothing of photography, so it's, uh... 212 00:12:02,400 --> 00:12:03,880 That's what I understand. 213 00:12:07,040 --> 00:12:08,560 [breathes deeply] 214 00:12:11,120 --> 00:12:12,280 So... 215 00:12:14,000 --> 00:12:16,480 Karl has been our stylist for more than ten years. 216 00:12:16,960 --> 00:12:17,960 Hmm. 217 00:12:18,040 --> 00:12:20,880 And Fendi wouldn't be where it is without him. 218 00:12:22,160 --> 00:12:25,960 So, there is not much I can deny him. 219 00:12:30,040 --> 00:12:31,560 [chuckling] 220 00:12:31,640 --> 00:12:33,640 [♪ slow instrumental music playing] 221 00:12:48,520 --> 00:12:51,600 [Karl] It's the wedding of the century. It has to make an impression. 222 00:12:51,680 --> 00:12:53,080 But it doesn't need to be pretty. 223 00:12:53,160 --> 00:12:54,640 It's not a Saint Laurent. 224 00:12:57,320 --> 00:12:59,720 I want the shoulders puffier and the hips, too. 225 00:12:59,800 --> 00:13:01,280 Do you like the waist? 226 00:13:01,360 --> 00:13:03,120 -More tight, more everything. -[knock on door] 227 00:13:03,200 --> 00:13:05,520 I don't want something bourgeois. I want it to stand out. 228 00:13:06,240 --> 00:13:08,560 Monsieur, there's a telephone call for you. 229 00:13:15,960 --> 00:13:17,000 Hello? 230 00:13:17,080 --> 00:13:18,920 [Jacques] Did you ask Carla Fendi to hire me? 231 00:13:19,000 --> 00:13:20,760 But... Why are you taking that tone? 232 00:13:20,840 --> 00:13:22,600 Who do you think you are, Karl? 233 00:13:22,680 --> 00:13:25,040 -[Karl] I'm offering you a job. -No. No, no, no, no. 234 00:13:25,120 --> 00:13:28,760 You're setting me up for a job that everyone knows I'm not qualified for. 235 00:13:28,840 --> 00:13:30,080 Starting with your poor boss 236 00:13:30,160 --> 00:13:32,640 who you're forcing to hire me against her will. 237 00:13:32,720 --> 00:13:35,320 I am not your puppet 238 00:13:35,400 --> 00:13:37,600 that you can make do whatever you want, okay? 239 00:13:37,680 --> 00:13:39,680 I don't need you and I don't need a job. 240 00:13:39,760 --> 00:13:41,480 I write. That's it. 241 00:13:41,560 --> 00:13:43,040 I write. 242 00:13:43,120 --> 00:13:46,600 You honestly believe I don't care about the launch of a line at Fendi? 243 00:13:46,680 --> 00:13:49,080 I, I... I'm taking a risk for you. 244 00:13:49,160 --> 00:13:52,000 I'm offering you this job because I think you can do it. 245 00:13:52,080 --> 00:13:54,880 Yes, but I'm not a photographer, Karl! 246 00:13:56,680 --> 00:13:59,560 All we ask of you is to have an idea, 247 00:13:59,640 --> 00:14:01,560 and you've got plenty of ideas. 248 00:14:01,640 --> 00:14:04,960 What you need is to finally finish a thing you began. 249 00:14:05,040 --> 00:14:06,120 [scoffs] 250 00:14:07,000 --> 00:14:08,520 [Karl] It'll make you proud. 251 00:14:08,600 --> 00:14:09,640 So accept it. 252 00:14:10,720 --> 00:14:14,000 Come to Paris with your head held high for the wedding. 253 00:14:16,480 --> 00:14:17,680 For me. 254 00:14:20,160 --> 00:14:21,560 I need you. 255 00:14:24,680 --> 00:14:25,680 [scoffs] 256 00:14:26,960 --> 00:14:28,680 [♪ slow piano music playing] 257 00:14:30,440 --> 00:14:31,520 [sighs] 258 00:14:43,480 --> 00:14:44,680 Does that look better? 259 00:14:45,680 --> 00:14:47,760 Hmm. Yes. 260 00:15:09,120 --> 00:15:11,760 Lovely evening, no? Hmm? 261 00:15:11,880 --> 00:15:13,280 Shall we fly now? 262 00:15:14,120 --> 00:15:17,280 Okay, it's done. You told Karl no. Voilà. 263 00:15:19,040 --> 00:15:20,480 -Voilà! -Voilà! 264 00:15:21,320 --> 00:15:22,480 Voilà! 265 00:15:27,840 --> 00:15:29,640 If you worked, what would you do? 266 00:15:30,800 --> 00:15:32,360 -You know I'm an architect. -No. 267 00:15:32,800 --> 00:15:34,800 You just designed the house you bought. 268 00:15:34,880 --> 00:15:36,720 Of course, who else is living in it? 269 00:15:37,320 --> 00:15:38,640 [laughing] 270 00:15:40,480 --> 00:15:43,760 Why? What would you do if you didn't have Karl to support you? 271 00:15:43,840 --> 00:15:45,800 [chuckles softly] I don't know. 272 00:15:45,880 --> 00:15:47,880 [♪ soft piano music playing] 273 00:16:31,960 --> 00:16:33,360 Sorry. Excuse me, sir. 274 00:16:33,440 --> 00:16:36,400 Sorry to disturb you, but Monsieur de Bascher is insisting. 275 00:16:37,120 --> 00:16:38,520 The telephone, sir. 276 00:16:42,600 --> 00:16:43,960 Hello? 277 00:16:44,040 --> 00:16:46,800 [Jacques] There would be a girl, a pretty American 278 00:16:46,880 --> 00:16:50,040 who makes her parents think she's going to a spa in Baden-Baden. 279 00:16:50,120 --> 00:16:51,280 But she's in Rome. 280 00:16:51,360 --> 00:16:53,840 So, she walks around in Fendi clothes. 281 00:16:53,920 --> 00:16:55,040 What are you on about? 282 00:16:55,120 --> 00:16:56,360 The Fendi campaign. 283 00:16:56,440 --> 00:16:59,120 I can't take pictures, but I can make a movie for you. 284 00:16:59,200 --> 00:17:00,440 It'll be beautiful. 285 00:17:01,080 --> 00:17:02,840 Every image, a tableau. 286 00:17:02,920 --> 00:17:05,320 All the spots of Rome that I love. 287 00:17:06,120 --> 00:17:09,520 So you don't want to photograph. You're saying you'd rather direct? 288 00:17:09,600 --> 00:17:12,000 To write and direct. 289 00:17:13,200 --> 00:17:15,480 Eh, Jacques. Be reasonable. 290 00:17:16,920 --> 00:17:19,200 What you're asking for is a whole team. 291 00:17:19,280 --> 00:17:22,560 It's a lot, a lot of work with a real budget. 292 00:17:22,640 --> 00:17:24,320 That's my offer to you, Karl. 293 00:17:24,400 --> 00:17:26,200 It's not a game. 294 00:17:26,280 --> 00:17:28,560 It's a contract that binds you to the Fendis. 295 00:17:30,400 --> 00:17:31,600 Yes or no? 296 00:17:32,560 --> 00:17:33,640 Fifteen minutes. 297 00:17:35,440 --> 00:17:36,440 Five. 298 00:17:37,840 --> 00:17:38,920 Fifteen. 299 00:17:41,840 --> 00:17:44,040 If it's good, I'll go to the wedding. 300 00:17:45,600 --> 00:17:47,080 Okay. 301 00:17:49,160 --> 00:17:50,160 [line cuts] 302 00:17:53,840 --> 00:17:55,760 [♪ slow piano music playing] 303 00:18:38,280 --> 00:18:39,840 You'll do her hair every day. 304 00:18:40,520 --> 00:18:43,320 She won't want to be unkempt, even if no one's here. 305 00:18:43,400 --> 00:18:44,560 Of course, Monsieur. 306 00:18:49,560 --> 00:18:50,680 [door closes] 307 00:19:09,960 --> 00:19:12,360 We'll take you back if it doesn't work out here. 308 00:19:13,840 --> 00:19:17,080 Whether that's Paris or we'll have to take you back to the hospital. 309 00:19:17,160 --> 00:19:18,560 We'll do what we have to. 310 00:19:19,480 --> 00:19:22,920 And if there's a problem, you'll let us know, hmm? 311 00:19:24,080 --> 00:19:25,760 I'll visit as often as I can. 312 00:19:25,840 --> 00:19:26,840 Hmm. 313 00:19:28,400 --> 00:19:29,480 Hmm. 314 00:19:32,000 --> 00:19:33,200 [straining] Get to work. 315 00:19:34,800 --> 00:19:36,160 [breathes weakly] 316 00:19:37,200 --> 00:19:38,320 Show all of them. 317 00:19:44,960 --> 00:19:46,040 [breathes deeply] 318 00:19:50,560 --> 00:19:53,160 How am I supposed to be myself if I don't have you? 319 00:19:55,680 --> 00:19:57,960 Who wants to be oneself? 320 00:19:58,040 --> 00:19:59,400 [chuckles] 321 00:20:02,520 --> 00:20:03,560 [Elisabeth coughs] 322 00:20:15,000 --> 00:20:16,280 [Karl speaking German] I'm sad... 323 00:20:22,120 --> 00:20:24,720 [speaking German] Don't... Don't think about it. 324 00:20:55,000 --> 00:20:56,600 [♪ somber music playing] 325 00:21:10,400 --> 00:21:12,560 [in English] Let's go. Back to Paris. 326 00:21:12,640 --> 00:21:14,120 I have a wedding to prepare. 327 00:21:27,560 --> 00:21:29,440 [♪ upbeat music playing] 328 00:21:31,000 --> 00:21:32,000 TWO MONTHS LATER 329 00:21:32,080 --> 00:21:37,560 ♪ When you're alone and life Is making you lonely, you can always go ♪ 330 00:21:37,640 --> 00:21:39,120 ♪ Downtown ♪ 331 00:21:39,200 --> 00:21:42,720 ♪ When you've got worries All the noise and the hurry ♪ 332 00:21:42,800 --> 00:21:45,040 ♪ Seems to help, I know ♪ 333 00:21:45,960 --> 00:21:47,080 ♪ Downtown ♪ 334 00:21:47,160 --> 00:21:51,360 ♪ Just listen to the music Of the traffic in the city ♪ 335 00:21:51,440 --> 00:21:55,240 ♪ Linger on the sidewalk Where the neon signs are pretty ♪ 336 00:21:55,320 --> 00:21:57,920 ♪ How can you lose? ♪ 337 00:21:58,000 --> 00:22:01,040 ♪ The lights are much brighter there ♪ 338 00:22:01,120 --> 00:22:05,280 ♪ You can forget all your troubles Forget all your cares ♪ 339 00:22:05,360 --> 00:22:07,920 ♪ So go downtown ♪ 340 00:22:08,000 --> 00:22:11,840 ♪ Things will be great When you're downtown ♪ 341 00:22:11,920 --> 00:22:17,040 ♪ Everything's waiting for you ♪ 342 00:22:17,120 --> 00:22:19,880 -Oh, shit, you're early. -[Karl] You're not done? 343 00:22:19,960 --> 00:22:21,520 We're terribly behind schedule. 344 00:22:21,600 --> 00:22:24,440 She's not made up. Her hair's not done. She hasn't changed into her dress. 345 00:22:24,520 --> 00:22:25,840 Betty, who is it? 346 00:22:25,920 --> 00:22:26,920 The evening gown. 347 00:22:29,160 --> 00:22:31,120 [Karl] We have to be in town hall in an hour. 348 00:22:31,200 --> 00:22:32,920 I'll go see if I can find an iron. 349 00:22:55,960 --> 00:22:58,160 I was wondering if I might run into you. 350 00:22:59,640 --> 00:23:03,640 I made everyone leave. The skirt wasn't finished. 351 00:23:04,480 --> 00:23:06,240 It's so worth it. 352 00:23:06,320 --> 00:23:10,600 Having conquered the world, only to end up as you began in the antique chamber. 353 00:23:10,680 --> 00:23:12,880 Waiting for the lady to put on her dress. 354 00:23:13,880 --> 00:23:14,960 [chuckles] 355 00:23:16,040 --> 00:23:17,040 [chuckles softly] 356 00:23:18,120 --> 00:23:20,320 You've got your seven-league boots on. 357 00:23:22,320 --> 00:23:24,920 Are you planning on running away when you see Pierre? 358 00:23:26,720 --> 00:23:29,360 No. Why should I? 359 00:23:29,440 --> 00:23:31,440 -He doesn't run very fast. -[chuckles] 360 00:23:41,400 --> 00:23:42,640 [Karl exhales] 361 00:23:48,120 --> 00:23:49,600 How are you doing? 362 00:23:50,520 --> 00:23:52,440 Fine. And you? 363 00:23:52,520 --> 00:23:53,840 Fine. 364 00:23:58,400 --> 00:24:00,800 -You've aged. -You've put on weight. 365 00:24:01,480 --> 00:24:02,640 Did you miss me? 366 00:24:02,720 --> 00:24:03,720 [scoffs] 367 00:24:10,920 --> 00:24:12,760 He left me, you know. 368 00:24:12,840 --> 00:24:14,080 Pierre. 369 00:24:14,160 --> 00:24:17,240 Yes, that's what I have been told. 370 00:24:17,320 --> 00:24:19,200 [Yves] For an American gardener. 371 00:24:19,280 --> 00:24:21,240 Guess what his name was. 372 00:24:23,040 --> 00:24:24,720 Madison Cox. 373 00:24:24,800 --> 00:24:26,240 [chuckling] 374 00:24:26,320 --> 00:24:27,920 Fine summary of Pierre's life. 375 00:24:31,240 --> 00:24:33,440 Now I live with my servants. 376 00:24:34,320 --> 00:24:36,120 There are days when I don't get up. 377 00:24:37,960 --> 00:24:39,640 Those are the best days. 378 00:24:39,720 --> 00:24:40,800 [inhales] 379 00:24:44,280 --> 00:24:46,160 I'd like to be 20 years old again. 380 00:24:47,000 --> 00:24:48,720 Do things for the sake of beauty. 381 00:24:48,800 --> 00:24:50,760 [Karl] Oh, listen to you. 382 00:24:50,840 --> 00:24:52,280 You sound like an old fart, you know. 383 00:24:52,360 --> 00:24:56,160 I am an old boudoir Full of withered roses 384 00:24:56,240 --> 00:25:00,120 Where lies a whole litter Of old-fashioned dresses 385 00:25:00,200 --> 00:25:01,400 [scoffs] 386 00:25:02,600 --> 00:25:05,120 There's no way you have the whole poem memorized. 387 00:25:06,040 --> 00:25:09,400 Only those two lines. I've never read Baudelaire. 388 00:25:09,480 --> 00:25:10,640 [chuckling] 389 00:25:20,280 --> 00:25:22,280 My mother is deteriorating. 390 00:25:26,880 --> 00:25:29,560 [both speaking German] 391 00:25:38,560 --> 00:25:41,640 [in English] And Jacques. How is he? 392 00:25:41,720 --> 00:25:42,840 [scoffs] 393 00:25:44,560 --> 00:25:46,040 He's Jacques. 394 00:25:46,120 --> 00:25:47,320 [chuckles softly] 395 00:25:49,320 --> 00:25:50,720 [door opens] 396 00:25:52,520 --> 00:25:54,200 -Ta-da! -I love it. 397 00:25:57,440 --> 00:25:58,760 Falls well, no? 398 00:25:58,840 --> 00:26:00,160 Impeccable. 399 00:26:00,960 --> 00:26:02,480 You look beautiful, darling. 400 00:26:04,160 --> 00:26:05,320 That's good. 401 00:26:06,640 --> 00:26:09,000 -Should we move on to the hair? -[Betty] Let's go. 402 00:26:10,520 --> 00:26:13,400 -[footsteps receding] -[door opens and closes] 403 00:26:14,120 --> 00:26:15,280 Is that your day gown? 404 00:26:16,000 --> 00:26:17,200 [chuckles softly] 405 00:26:18,600 --> 00:26:20,520 You try to draw anything with this... 406 00:26:24,080 --> 00:26:26,360 [♪ soft instrumental music playing] 407 00:26:43,480 --> 00:26:45,280 [phone ringing] 408 00:26:54,240 --> 00:26:56,240 [line ringing] 409 00:27:07,440 --> 00:27:09,440 [♪ upbeat music playing] 410 00:27:15,720 --> 00:27:17,720 [speaking indistinctly] 411 00:27:30,000 --> 00:27:33,680 ♪ I don't wanna lose you This good thing ♪ 412 00:27:37,520 --> 00:27:39,680 Very beautiful. Very Karl. 413 00:27:39,760 --> 00:27:42,320 -You've seen nothing yet, André. -I can't wait. 414 00:27:42,400 --> 00:27:44,200 Merci. Good to see you. 415 00:27:47,880 --> 00:27:49,040 [speaking indistinctly] 416 00:27:51,680 --> 00:27:54,240 Excuse me. Mademoiselle Picasso's ready. 417 00:27:59,080 --> 00:28:00,880 Sir, you're wanted at the entrance. 418 00:28:02,800 --> 00:28:04,920 Uh, stay here when she arrives. You deserve it. 419 00:28:05,000 --> 00:28:06,000 I'm coming. 420 00:28:06,080 --> 00:28:07,440 -Very good. -I'll be there. 421 00:28:07,960 --> 00:28:10,000 -Bonsoir, Karl. -Bonsoir. 422 00:28:10,080 --> 00:28:12,080 [♪ slow instrumental music playing] 423 00:28:16,400 --> 00:28:17,520 [exhales] 424 00:28:20,040 --> 00:28:21,120 [chuckles softly] 425 00:28:25,400 --> 00:28:26,600 Dress me? 426 00:28:28,880 --> 00:28:30,000 [softly] Okay. 427 00:28:33,920 --> 00:28:36,280 [breathing heavily] I ran my whole way. 428 00:28:36,360 --> 00:28:39,520 I was up all night editing, Karl. [chuckling] 429 00:28:39,600 --> 00:28:42,040 Right out the door and straight to the airport. Uh, not that one. 430 00:28:42,120 --> 00:28:44,480 -Classic like Baron de Charlus. -[chuckling] 431 00:28:44,560 --> 00:28:45,760 Pierre and Yves here yet? 432 00:28:45,840 --> 00:28:47,480 Pierre, yes. Yves, not yet. 433 00:28:47,560 --> 00:28:49,720 -Uh, white. -Mmm-hmm. 434 00:28:51,760 --> 00:28:53,440 How's it look, Paloma's dress? 435 00:28:53,520 --> 00:28:55,120 No special privileges, hmm? 436 00:28:55,200 --> 00:28:57,720 -You'll see her the same time I do. -No, Karl! 437 00:29:01,720 --> 00:29:03,800 I worked so hard, Karl. 438 00:29:03,880 --> 00:29:05,920 You wouldn't have recognized me at all. 439 00:29:06,000 --> 00:29:07,400 I haven't slept in months. 440 00:29:07,480 --> 00:29:09,280 What the hell am I going to do? 441 00:29:10,160 --> 00:29:13,240 Every morning, I get up and say, "I'm quitting. I've got to call Karl back. 442 00:29:13,320 --> 00:29:16,480 "I can't do this. It's impossible. I need to tell him this was a mistake." 443 00:29:16,560 --> 00:29:18,040 That's why I came here. 444 00:29:19,200 --> 00:29:21,160 I didn't wanna make that call. 445 00:29:21,240 --> 00:29:23,160 And here I thought you'd forgotten me. 446 00:29:25,520 --> 00:29:27,600 I have talent. [chuckling] 447 00:29:29,120 --> 00:29:30,520 They said so. 448 00:29:31,520 --> 00:29:34,440 It's true. Because I had an idea for a shot. 449 00:29:34,520 --> 00:29:37,480 At one point, I could clearly see this image in my head 450 00:29:37,560 --> 00:29:39,040 of exactly what we needed to do with it. 451 00:29:39,120 --> 00:29:40,760 But I kept insisting, 452 00:29:40,840 --> 00:29:43,560 so they let me play, and it was gorgeous. 453 00:29:43,640 --> 00:29:45,080 Really beautiful. 454 00:29:45,160 --> 00:29:46,440 Then they believed in me. 455 00:29:46,520 --> 00:29:47,800 I knew it. 456 00:29:49,480 --> 00:29:50,680 I told you. 457 00:29:57,000 --> 00:29:58,560 I want to do this now. 458 00:29:59,480 --> 00:30:02,520 -Film things. -I will help you. 459 00:30:05,720 --> 00:30:07,800 Soon, I won't need you to help me. 460 00:30:10,760 --> 00:30:12,000 [chuckling] 461 00:30:13,120 --> 00:30:14,680 -No. [clicks tongue] -No? 462 00:30:25,600 --> 00:30:27,200 Thank you. 463 00:30:28,240 --> 00:30:30,400 The freedom has been nice. 464 00:30:34,440 --> 00:30:36,440 [♪ choral music playing] 465 00:30:37,640 --> 00:30:39,440 [all applauding] 466 00:30:54,400 --> 00:30:55,560 [music fades] 467 00:30:56,360 --> 00:30:57,560 Back from Rome. 468 00:30:57,640 --> 00:30:59,040 -Rome? -Just now, yes. 469 00:30:59,120 --> 00:31:00,200 [Thadee Klossowski] Just now? 470 00:31:00,280 --> 00:31:01,560 -[Jacques] Literally. -[Thadee] Oh. 471 00:31:01,640 --> 00:31:03,120 -Why? -[Jacques] I was directing a film. 472 00:31:03,200 --> 00:31:05,480 That's why. For Fendi. I can't wait for you to see it. 473 00:31:05,560 --> 00:31:06,880 [Thadee] I wasn't expecting that. 474 00:31:06,960 --> 00:31:08,920 No, see, ah... It was great. 475 00:31:09,000 --> 00:31:11,240 I wrote, I directed, I did it all. 476 00:31:11,320 --> 00:31:13,000 Really, I was working overtime. 477 00:31:16,880 --> 00:31:20,240 The more you create illusions, the better I see you. 478 00:31:22,200 --> 00:31:23,760 A lonely man. 479 00:31:24,920 --> 00:31:27,200 [Jacques] Oh, there's Anna. Anna! 480 00:31:27,800 --> 00:31:29,760 Jacques! [laughing] 481 00:31:30,040 --> 00:31:31,480 My friend. 482 00:31:32,080 --> 00:31:33,080 How are you? 483 00:31:33,280 --> 00:31:34,280 You look beautiful. 484 00:31:34,400 --> 00:31:36,480 [♪ somber instrumental music playing] 485 00:31:56,520 --> 00:31:58,280 [speaking indistinctly] 486 00:32:00,280 --> 00:32:01,960 -Goodbye. Thank you very much. -[woman] Merci. 487 00:32:02,040 --> 00:32:05,000 Karl, what's wrong? You're not changed? Everybody's going out. 488 00:32:05,080 --> 00:32:07,640 -I think I'm done. -No, come out with me. 489 00:32:07,720 --> 00:32:09,200 Come on. 490 00:32:09,280 --> 00:32:10,560 Stay, Jacques. 491 00:32:14,440 --> 00:32:15,640 [chuckling] 492 00:32:16,120 --> 00:32:18,200 I'll tell you all about it, hmm? 493 00:32:18,960 --> 00:32:20,520 [music continues] 494 00:32:34,240 --> 00:32:35,320 [door closes] 495 00:32:36,520 --> 00:32:37,880 [film reel rolling] 496 00:32:39,480 --> 00:32:41,480 [♪ soft instrumental music playing] 497 00:33:20,520 --> 00:33:21,560 [inhales deeply] 498 00:33:21,640 --> 00:33:22,640 [clicks tongue] 499 00:33:42,760 --> 00:33:43,760 [sniffles] 500 00:34:02,120 --> 00:34:03,440 [line ringing] 501 00:34:05,320 --> 00:34:06,320 [receiver picks up] 502 00:34:06,400 --> 00:34:08,400 Carla Fendi for Karl Lagerfeld, per favore. 503 00:34:08,480 --> 00:34:09,880 [female receptionist] Hold on. 504 00:34:12,880 --> 00:34:15,680 [Carla Fendi] Well? Have you seen it? It's good, isn't it? 505 00:34:15,760 --> 00:34:17,800 -Si. -[Carla Fendi] I was incredulous. 506 00:34:17,880 --> 00:34:21,360 I can say that now. But it's so light, beautiful, sensual. 507 00:34:21,440 --> 00:34:23,440 He understood the spirit of Fendi. 508 00:34:24,240 --> 00:34:26,800 You were so right. This film was a very good idea. 509 00:34:26,880 --> 00:34:29,800 We'll show it to journalists to prepare the launch of the collection. 510 00:34:29,880 --> 00:34:31,280 No. No, no, no, no. 511 00:34:32,280 --> 00:34:33,520 [Carla Fendi] Is it too soon? 512 00:34:33,600 --> 00:34:35,840 I'm so sorry. I have... I've made a mistake. 513 00:34:36,360 --> 00:34:38,040 We simply cannot use the film. 514 00:34:38,120 --> 00:34:39,120 [Carla Fendi] But why? 515 00:34:39,200 --> 00:34:40,720 It's not professional. 516 00:34:40,800 --> 00:34:42,720 Uh, it looks like it was made by a student. 517 00:34:42,800 --> 00:34:44,760 [Carla chuckling] But that's what I like about it. 518 00:34:44,840 --> 00:34:47,040 It's surprising and spontaneous. 519 00:34:47,120 --> 00:34:48,680 Do not premiere this. 520 00:34:49,480 --> 00:34:51,360 I'm happy to refund all the expenses. 521 00:34:51,920 --> 00:34:54,880 [Carla Fendi] But he is good, right? 522 00:34:57,280 --> 00:34:58,320 Sure. 523 00:34:59,680 --> 00:35:01,080 He's talented. 524 00:35:03,280 --> 00:35:05,080 [♪ soft instrumental music playing] 525 00:35:06,280 --> 00:35:07,560 [hangs up phone] 526 00:35:10,360 --> 00:35:12,760 ♪ Talking away ♪ 527 00:35:13,880 --> 00:35:17,160 ♪ I don't know what I'm to say ♪ 528 00:35:17,240 --> 00:35:19,840 ♪ I'll say it anyway ♪ 529 00:35:21,040 --> 00:35:24,960 ♪ Today is another day to find you ♪ 530 00:35:25,040 --> 00:35:27,440 ♪ Shying away ♪ 531 00:35:28,840 --> 00:35:32,000 ♪ I'll be coming for your love, okay? ♪ 532 00:35:32,080 --> 00:35:37,320 ♪ Take on me ♪ 533 00:35:39,560 --> 00:35:45,800 ♪ Take me on ♪ 534 00:35:46,920 --> 00:35:52,760 ♪ I'll be gone ♪ 535 00:35:52,840 --> 00:35:58,440 ♪ In a day or two ♪ 536 00:36:01,280 --> 00:36:05,240 ♪ So needless to say ♪ 537 00:36:05,320 --> 00:36:07,320 ♪ I'm odds and ends ♪ 538 00:36:07,400 --> 00:36:11,080 ♪ But that's me, I'm stumbling away ♪ 539 00:36:12,680 --> 00:36:16,480 ♪ Slowly learning that life is okay ♪ 540 00:36:16,560 --> 00:36:18,880 ♪ Say after me ♪ 541 00:36:20,000 --> 00:36:24,200 ♪ It's no better to be safe than sorry ♪ 542 00:36:24,280 --> 00:36:29,400 ♪ Take on me ♪ 543 00:36:31,920 --> 00:36:38,600 ♪ Take me on ♪ 544 00:36:39,440 --> 00:36:45,440 ♪ I'll be gone ♪ 545 00:36:45,520 --> 00:36:51,520 ♪ In a day or two ♪ 546 00:36:54,960 --> 00:37:00,680 ♪ I'll be gone ♪ 547 00:37:00,760 --> 00:37:03,480 ♪ In a day or two ♪ 548 00:37:03,560 --> 00:37:08,560 ELISABETH LAGERFELD DIED AT PENHOËT FOUR MONTHS LATER, ON SEPTEMBER 14, 1978, 549 00:37:08,640 --> 00:37:11,640 WITHOUT SEEING HER SON AGAIN.