Karl Lagerfeld worked together with architect Alin Asmar d’amman on the reconstruction of the Hôtel de Crillon in Paris. In an interview with German AD, she told how the work with the designer went.
© STEPHAN JULLIARD
February 19 marks the third anniversary of Karl Lagerfeld’s death. When architect Alin Asmar d’amman was commissioned to redesign the Crillon Hotel, she ventured to write to an outstanding designer and ask him to take over part of the work — this collaboration was one of the last in the life of Kaiser Karl.
Aline Asmar d’amman has just returned from Venice, where she led the reconstruction of the historic Palazzo Don Giovannelli and created the Lebanese pavilion for the Venice Biennale. She obviously remembers working with a fashion designer with great pleasure, during the conversation the mood is relaxed.
Karl Lagerfeld was a busy man until the last day. How did you manage to convince him to take part in the reconstruction of the Crillon Hotel?
Alin Asmar d’amman: I did what I did when I was a child, when I wanted something very much — I took a pen and a piece of paper and wrote a letter. I went with him to the L7 bookstore, where Lagerfeld had not only a personal library, but also a spacious studio. I asked a salesman named Vincent to put an envelope on Carl’s desk, but he didn’t give me much hope.
Karl Lagerfeld sent sketches of one of the sofas in letters to Alin Asmar d’amman.
© STEPHAN JULLIARD
Culture in Architecture
Culture in Architecture
And how did the story continue?
The next day my phone rang. At first I didn’t answer because the number was blocked. Karl Lagerfeld left me a message. He said he would call me again in half an hour. And exactly 30 minutes later, the phone rang again.
Do you remember how the conversation went?
It’s like it was yesterday. He thanked me for the letter and said that he found the project attractive. When he quoted Curzio Malaparte (who once said that the Crillon Hotel is “the best thing in Paris today”), it dawned on me: something special is really happening now.
The Crillon Hotel in Paris.
© STEPHAN JULLIARD
How did the cooperation develop further?
We understood each other from the very beginning. And I was amazed at how quickly and how accurately he had an idea of what he wanted to do there. I think he was more of an architect, too. He even admitted that he loves the smell of construction sites.
Fashion designer Karl Lagerfeld and architect Alin Asmar d’amman at work on a joint project.
Culture in Architecture
What were his plans to rebuild the hotel?
He planned to create two suites, which he called Les Grands Apartments, similar to the king’s apartments in the Palace of Versailles. Two rooms are located on the fourth floor, which offers a beautiful view of the Place de la Concorde. From the very first time we met at the facility, it became clear to him that the apartments needed to be created on the principle of a suite so that you could really enjoy the view. Perhaps you know that the Grand Palace is also visible from there, and, as we know, it had a special meaning for Charles.
The designer gave the rooms a regal look.
© STEPHAN JULLIARD
How long in total did your work on the Crillon Hotel last?
Five years, but, as I said, most of the work was solved pretty quickly: boiseries, which Karl Lagerfeld was inspired to create by the Chateau de Crecy, destroyed during the French Revolution, but whose plans survived; furniture that he wanted to cover with gray velvet, because he likes the gray color of the sky over Paris so much. He literally said “le gris du bassin de Paris” — “the greyness of the Parisian pool”.
I think that’s what Karl Lagerfeld appreciated about me: that I don’t take “no” for an answer.
Alin Asmar d’amman
Were there any difficulties during the work that you thought could not be overcome?
Yes, there were several such situations. I remember, for example, that he wanted the upholstery velvet to have a certain embossed print. There was only one master in Paris who still owned this technique, he said“ “I’m sorry, but this impression was used so often in the past that the template is no longer good.” But somehow it still turned out to be done. I think that’s what Karl Lagerfeld appreciated about me: that I don’t take “no” for an answer.
Karl Lagerfeld and Alin Asmar d’amman took light, classic tones as a basis.
© STEPHAN JULLIARD
Les Grands Apartments resemble the royal apartments in the Palace of Versailles.
© STEPHAN JULLIARD
Then you worked together on the second Architectures project. How did this happen?
I think that after five years of cooperation, we both wanted it to not end yet. Therefore, Karl designed several more pieces of marble furniture, and I started implementing them. We chose stones together, black and white, in his style. White was mined in a quarry that had not been used for 30 years. The result was not furniture, but sculptures. The circulation turned out to be modest, with only eight final items and four trial copies. Now they can be found in Carpenters Workshop Gallery.
Karl Lagerfeld’s signature style can be traced in the bathrooms — a black-and-white combination, always elegant.
© STEPHAN JULLIARD
© STEPHAN JULLIARD
The series includes twelve items. Do you have your favorite?
I like them all very much. What I admire about them is how Karl managed to cover the period from Greco-Roman antiquity to the present day. In all his projects, he adhered to the classical basis, but was always extremely modern.
Architectures was one of his last projects, right?
That’s right, not counting the villa in Louveciennes and, of course, fashion collections. We were still preparing the opening of the exhibition at Carpenters Workshop Gallery in December 2018, it was one of his last public appearances. At that time, many people thought that he most likely would not come. But he came, it was obviously important to him.
The bathroom is dominated by black marble, to which white bouquets of roses give contrast.
© STEPHAN JULLIARD
The double bed is comfortably and regally located in the alcove. The room is also decorated in simple shades of white, beige and gray.
© STEPHAN JULLIARD
The furniture in the salon is covered with pink velvet fabric. The chair cover is made with a special embossed print.
Stephan Julliard
Karl Lagerfeld chose this upholstery for chairs because he liked the gray color of the Parisian sky. It is also made with an unusual embossed embossing, which is still made by only one master in all of Paris.
© STEPHAN JULLIARD
In the entrance hall of the hotel, guests are greeted by a door with a majestic ornament.
© STEPHAN JULLIARD
First published in AD Germany.
