Peggy Sagers: Karl Lagerfeld was a German designer and the creative director of Chanel from 1983 until his death.

He was instrumental in revitalizing the Chanel brand, helping it regain its position as one of the top fashion houses in the world.

He was also creative director of the Italian fashion house Fendi.

Today on "Fit 2 Stitch," we tell the story of Karl Lagerfeld through our guest Matthew Minick, stylist, ready-to-wear and fur expert at the Fendi Boutique in Dallas, Texas.

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♪♪♪ Peggy: Most of us know the name Karl Lagerfeld, and yet we just don't know of the impact that he had on the fashion community worldwide.

Matthew Minick is here with us today.

Matthew is from Fendi Corporation, and as many of us know, Karl Lagerfeld was behind Fendi for many years.

Matthew Minick: Yes, he was.

Yes, he was.

Peggy: And Chanel, and he was just a big part of the fashion community.

Matthew: Completely.

Peggy: Let's start with Fendi, if you're okay with that.

Matthew: Of course.

Peggy: Tell me about the fur that Fendi uses because I think a lot of people are averse-- just have averse feelings about fur.

Yet it's fascinating to me how Fendi uses fur and what protective measures they go for that fur.

Matthew: Of course, Peggy, I will share with you that the fur that we do use with Fendi is sustainable.

We use the female fur, which is the brightest, and we always buy from the finest fur houses possible.

We always try to do the first pick when we do buy furs, and the furs that we do use have a really beautiful brilliance.

Peggy: So, Fendi is a female-led corporation?

Matthew: Yes, it is.

We started, interesting enough, we started with-- in 1925, with the Fendi family in Roma.

The Fendi family actually stemmed in the leather-making business and fur-making business.

And the Fendi husband and wife duo, Adele and-- Peggy: Mr. Fendi.

Matthew: Mr. Fendi.

Peggy: There you go.

Matthew: Pardon me-- really founded the house, if you will.

And at that time, it was the time of, really, more of making beautiful things-- handwork, leatherwork-- and again, in the fur-making business, which now, to this day, in 2023, we don't see a lot anymore.

Peggy: We don't, and I'm curious because I've been in awe of these furs for many, many years.

And just give me a price range, a ballpark, of like, cheapest to most expensive, and I know most expensive can be crazy because I've seen some personally that were $40,000 and $50,000.

But just a price range, a ballpark, what they run, retail.

Matthew: Sure, we have currently with Fendi, we have an opening price point of $18,900 for a classic bomber jacket, which would be very easy and very wearable for a lot of different clients-- not only for women but also for gentlemen.

I will share with you we go anywhere from that price point up, up to $300,000-plus.

Peggy: Okay, so just depending on the amount of work?

Matthew: Correct.

Peggy: Type of fur?

Matthew: And the type of fur.

There are different types of fur which are entailed within Fendi.

Our classic fur is going to be a mink.

Most of the mink origin is from Norway, so we use a Norwegian mink.

There are also different types of sable.

Sable is a very precious fur.

It has also a really beautiful shine to it.

So when you're looking at different types of sables, you'll see more of a black sable, more of a ranch sable.

There are different colorations in that, and it also has to do with the oils of the actual fur.

Peggy: Well, I have been in the store several times, as you know, and just have seen and spent time with you, looking at those furs, and they're just drop-dead, absolute gorgeous, and I think what I always learn is something that I didn't appreciate or didn't understand about the fur.

We have a fur here today.

Thanks to the Texas Fashion Collection, we have a fur.

Let's take a look.

Matthew: I would love to show it.

Peggy: This fur is just really, really beautiful, and this was donated to the Collection.

It's a Fendi fur.

So that means Karl Lagerfeld was behind this particular one?

Matthew: That is correct.

And then, as an homage to the late Lagerfeld, I always use a really beautiful glove when I'm examining furs.

I think that really gives a beautiful presentation and homage to this.

A really beautiful sable in this really rich purple, almost more of a really beautiful violet color, and the detailing that you can also see is the really beautiful detailings of the Fendi design in this really beautiful silk.

So, this fur was actually donated by a local woman.

Her name is Linda T. Anderson, and, Linda, thank you very much for donating this beautiful piece.

Peggy: So true, so that we can all enjoy it.

Matthew: It is such an elegant piece, and I'm sure there was probably a beautiful history behind it, behind when she received it as a gift from her spouse, or what have you.

The design of this is just beautiful, and you'll also notice the articulate details of this really beautiful leather, with the beautiful finish with the button.

The detailing of this is just so elegant, and it has a really beautiful design, almost a swing.

So what's nice about a Fendi fur is we do a lot of different designs for a lot of different body shapes.

So I don't want you to feel like if you were coming in and going, "Oh, what direction would I go within a fur?"

Put it on and see how it comes to life on your body.

Possibly for Mrs. Anderson, when this was given to her, she might have had what we call a special muslin fitting, which would have been an actual piece of a fabric that was more of a really intricate piece of fabric that would go over beforehand, before the actual fur was made.

In a period of time such as this, there might have been a time where this might have been purchased, and I'm not sure if this came from Neiman Marcus or Saks Fifth Avenue or a local furriery here in the United States.

I can't share that more detail with you, but I can say that this would be something that would probably have been sketched.

This would have probably been done with several fittings before the actual fur was actually done, cut, and dyed, for this particular client, but it's a really beautiful tribute to the late Lagerfeld, and you can see this in the beautiful design.

Peggy: So can you note a time prior to Karl Lagerfeld coming on to Fendi, 'cause you've been with Fendi now for a period of time, or you've seen the changes.

Did you notice a difference in the fur kind of before and after?

Do you think he just maintained what was there already?

Matthew: Mr. Lagerfeld really introduced a way of having a fur that would be an everyday presence in your life.

And I also wanna say that there are different types of furriers, beautiful furriers throughout the years, that the furs were so bulky and so heavy.

This was more of a lighterweight nature, but, again, made-- I'm going to say-- probably in the period of the mid-'80s that this fur was designed.

A lot of the furs now that we're showing are what we call more of a featherweight.

They're very lightweight.

They feel like a sweater.

So when you put them on, they feel very easy and relaxed with the body.

So it's not something that's so heavy and so bulky that you might be lugging up the stairs to your furrier in your favorite specialty store.

Peggy: Oh, so that's interesting.

So that evolution has really made them more wearable, more useable, more practical?

Matthew: Correct, very wearable and very user friendly.

And I know probably a lot of viewers say, "Oh, Matthew, I don't know if I feel really comfortable with fur."

I always want to say it is what comes to life on your body and how you like to set yourself apart and how maybe a garment speaks to you.

Peggy: So, Mr. Lagerfeld started his career all separate, just completely separate.

Matthew: Completely.

Peggy: And when did this come in?

Matthew: This was actually designed when he was with Chloe, so this-- Peggy: Okay, and now that was before Fendi?

Matthew: That is correct.

That is correct.

Mr. Lagerfeld had many different hats that he wore.

Karl was a man of amazement and amusement.

You know, he was always very creative.

This was actually taken from a really beautiful piece that is actually similar to the one that is being shown right now at the Lagerfeld installation in New York City right now.

And if anyone has a chance to go, I highly recommend it.

It is the lifespan of his work.

And so fortunate that the Metropolitan Museum of Art was fortunate to have put this together for the late Lagerfeld that we lost in 2019.

So, a real loss to the community.

Peggy: Yeah, a big hole, because he was, again, behind-- he was behind more than one at the same time.

So it seems like we are seeing his styles, and yet we knew of the name, but we really didn't realize his impact behind them.

He played behind the scenes really well.

And didn't--I mean, I know, sure, he had ego, but it didn't seem it because he was so willing to share all the talents of different companies, and they didn't seem threatened one by another.

That's what's fascinating to me.

Matthew: No, not at all.

Peggy: This is trapunto in here?

Matthew: This is trapunto, yes.

So this is a really beautiful raised fabric that almost has-- if you are not familiar with the term-- it's almost like a 3D-type fabric, where it's raised and has more of a puffed-type design.

Beautiful detailing you can see with this.

This beautiful silhouette in this gorgeous celadon color is just so yummy.

You can also look at the beautiful finish where this is taken.

Very painstakingly, that this really beautiful iris was done and then, again, followed with this really beautiful drape.

This piece was actually part, again, of the Collection at North Texas for the Fashion Institute, and this was actually designed in the early 1970s, so very elegant-type piece as far as the design.

Peggy: That empire waist was a little more popular then.

Matthew: Empire waist, completely.

Peggy: And then that cut-on sleeve, the kimono sleeve.

Matthew: Exactly, the kimono sleeve.

This was actually designed for probably someone very specific, and this fit was actually tailored just right for her because this is a lot more fitted on the bodice, if you will.

Peggy: It's just so pretty.

The color is just so unique.

Matthew: It is.

Peggy: And, again, when I look at some of these things, when we kind of start the idea with a pattern and then that repetition of that pattern done in some type of depth, it's really something that we could do.

It's just the idea of having it, I guess.

I just think it's so beautiful.

I always look to the designers for such an inspiration.

Matthew: Completely, where the inspiration comes from, and you always want-- you always ask yourself, "Where do various designers come from?

Where are they getting the knowledge to do that particular collection, or for the silhouette, for that season?"

Peggy: Yes, I've always asked that question.

I'm always ask--after where does that creativity come from?

So, probably what we know Karl Lagerfeld for the most is his Behind Chanel Collection.

Matthew: That is correct.

Peggy: His Behind Chanel Connection.

So, we have two Chanels here.

Authentic--real Chanels?

Matthew: Yes, very lovely, mm-hm.

Peggy: Let's talk about them.

Matthew: This is actually done with these really beautiful, almost nautical-type buttons.

When Chanel-- when she was a young girl, she actually started her very first shop in a small little resort town.

So it had a very nautical-type feel that Coco Chanel would do in design, these really beautiful hand-finished details in this really beautiful-- they're almost a very regal-looking pattern, you know, as far as the design.

They look like royalty.

You know, they have a different type of design.

But the patchwork design, the intricacy.

And then also the royalty of the crowns, the jubilee.

Peggy: Yeah, I was gonna say, these almost look like the family crest.

Matthew: Very regal, yes, completely.

And as we open this up, you can see the really beautiful silk detailing, and then also just the fine detailing of the Chanel logo.

Everything that was designed was done impeccably, and, really, as far as the finish goes, this is just truly a treasure.

This could be worn very nicely, fun, with a great evening pant, or you could make it just fun with jeans.

Peggy: I agree, I always say with jeans, and people look at me like I'm crazy, but I would wear this with jeans.

Matthew: No, not at all.

I think this would be a fun piece for you.

It's just a really-- a great piece, and then-- Peggy: Now, was this Karl Lagerfeld, or was this Chanel?

Matthew: This was actually Chanel for Lagerfeld, yes, and I do apologize.

Peggy: No, that's okay.

This was Karl Lagerfeld was behind, so this was the time he took over Chanel.

There was a period of time that for-- he knew Coco Chanel.

Matthew: Yes.

Peggy: And then she passed away, but there was some time in between there.

Matthew: There was some time in between there, yes.

Peggy: Because Chanel was really starting to-- I hate to say tank-- but they were really starting to go down.

Matthew: They were, they were, and Lagerfeld basically saw that direction and then he picked up where Coco left off, if you will.

So, again, the tribute is that Lagerfeld had so many different poignant points of interest in his life that he was always going non-stop, so, again, the attention to detail is where he has always remained solid.

Peggy: So if you were to look at these two, would you know right away that this was Karl Lagerfeld-- even though they're both Chanel?

But these were the years behind-- of course, you know too much, so you would probably know.

Matthew: Well-- [laughing] Peggy: That's not a fair question.

Matthew: Oh my gosh, Peggy, you're embarrassing me.

Well, I will say that, truly, if I did see this on someone, I would say, "Oh, this is a beautiful Chanel piece."

I probably would not know if this was Chanel by Lagerfeld unless I looked inside the label or really saw, but, again, you can see the details of this that is very special.

And this today, even in 2013, this is a coveted piece.

This is a very coveted piece.

This is very wearable.

I could see many different people enjoying this for years to come.

Peggy: I always wonder why someone gives away a piece, why they donate it.

I mean, not that I don't think donating is wonderful.

I just think this-- like what you said, it's such a classic piece.

I wonder where they get to to where it just doesn't work for them anymore.

Matthew: Well, maybe they just felt like this was something that would be something exciting for someone else to wear or also to showcase the timelessness of these pieces over the years.

Peggy: So let's go to this original now, because there are some key things about original Chanels that I just love.

Matthew: This is your very, very classic boucle.

This is what a lot of people know Chanel as.

They know Lagerfeld-- and a lot of people really thought that Lagerfeld only did Chanel.

He also designed exclusively for all of the ready-to-wear, for women's ready-to-wear, and all the furs for Fendi.

A lot of people don't realize that.

So, again, when you're thinking about Chanel, most people migrate to Karl Lagerfeld, "Oh, he designed for Chanel only."

But, again, Fendi was a very integral part.

Peggy: So interesting.

You made that distinction.

Is that, I wonder-- just to clarify-- he only did the furs at Fendi?

He didn't do the-- Matthew: He did women's ready-to-wear.

Peggy: At Fendi?

Matthew: At Fendi.

Peggy: Oh, I see, okay.

Matthew: Yes, he did, he did.

And he started, actually, with his house in 1965.

Again, from our conversation previous, this company was all founded by women, five Fendi sisters.

So they were the ones who wanted to bring in Lagerfeld as a stronghold, someone who would give the fervor, and also bring a new presence to the House of Fendi.

Peggy: And he did it.

Matthew: He did it.

Peggy: He did it so beautifully.

Matthew: He did it with fire, and such an amazing tribute-- Peggy: And did it to Chanel too.

He put Chanel right back on top and turned it around.

Matthew: Yes, he did, yes.

Peggy: Wow, so it's a big hole.

It's a big hole.

Matthew: It is, yes, completely.

Peggy: Let's go back to this 'cause I wanna look inside a little bit.

Matthew: Of course, so I'm gonna just show you-- Peggy: I noticed a couple of things that I wanna ask you about.

Matthew: Yes, the really beautiful boucle detailing and also the sleeves, the intricate work here.

Also, if you notice, look at this really beautiful chain.

This was one of the signature pieces with Chanel as far as the refinement of the jacket.

And look at the really stitching stitching that is here.

Very, very elegant as far as this done.

The navy with this just popping, and, again, being very, very wearable and also very comfortable up against the skin.

Peggy: Yeah, really almost like a shirt.

It was so soft.

And so, I didn't-- did Chanel-- and I don't know if you know this or not-- but here this Karl Lagerfeld with the lapel, I didn't even realize Chanel-- Chanel didn't really have a lot of lapels, did they?

Chanel was kind of famous for this softer neckline, military-more style.

Matthew: Completely, and speaking again with Lagerfeld, when Coco Chanel was with us, this was actually one of her signature pieces.

Peggy: Sure, that Jackie Kennedy-almost look.

Matthew: Completely, completely.

And Coco Chanel also-- I will share with you, Peggy-- did a lot of menswear inspiration.

She did, like, a long pant.

She did a lot of things because it was during the time during the war when there was a lot of change in the fashion world.

A lot of women were becoming more independent, more stronger.

And not just the stay-at-home-type individual, but someone that really wanted to put herself on the map.

Coco Chanel did that, and this inspiration is a very true tribute to her.

Peggy: And then with Karl Lagerfeld-- 'cause I don't wanna touch that-- Matthew: Yes, of course.

No, please.

Peggy: Did he still continue with the chain at the bottom?

Matthew: He did not.

He did not with this particular collection.

Peggy: I just noticed that Chanel was almost obsessive about that chain, and yet he kind of broke away from it, which I thought was interesting that he didn't-- I just wonder if the division of the personalities, that one just felt like it was a signature look, and then one said, "No, you know, we don't necessarily need that."

But fabrics did change too, and fabrics didn't need that weight that they needed, you know, back then, and when he took over, you can see this is so much heavier.

It doesn't really need a chain.

That chain would just be almost-- not a waste, clearly not a waste.

Matthew: Well, again, you know, the nice thing about it is, is we're moving from one expression to the next, and I think that's what's nice about fashion.

Fashion is always evolving.

Everything old is new again.

So it's like a fresh-- a fresh stash.

Peggy: You have a surprise for me.

Matthew: I do have a surprise for you.

I did wanna ask you what do you think the double Fs represent?

Peggy: For Fendi?

Matthew: Yes.

Peggy: Probably Fendi Fendi?

No, I don't know.

I don't know the answer to that question, to answer your question.

I don't know.

Matthew: May I just do a little surprise for-- Peggy: Oh, I would love you to.

Here, we'll just pull this to the side.

That would be really exciting.

Matthew: Well, this is an homage to... Mr. Lagerfeld.

And I'm just gonna bring this around here, just have some fun.

Peggy: Now, is this logo-- this double F, was it-- has it been around a long time, or only once Karl Lagerfeld came into being, with him?

Matthew: It has been around since the existence of Fendi.

The double Fs represent Fun Fur.

Peggy: Really?

Fun Fur?

Matthew: Fun Fur.

Peggy: No Fendi even in there?

Matthew: Furs Fendi-- mm hm, correct.

Peggy: There should be three Fs, Fun Fendi Fur.

[laughing] Matthew: Yes.

Peggy: We could add another one down there.

Matthew: Yes.

Peggy: I do recognize that logo 'cause I look at your handkerchief, and I know that's Fendi.

Matthew: Oh, thank you, Peggy.

Peggy: But then if you know a little more, you know that that shirt is also Fendi because-- tell us why.

Matthew: This is actually a very special piece.

This is-- if I may, this is Karl's partner in crime, Choupette.

So this was this-- when Mr. Lagerfeld passed away in 2019, his cat, Choupette, remained with us, and this is an homage, if you will.

Peggy: And it's got little cats all over it.

It's amazing.

And this cat is now a multimillion-dollar cat?

Matthew: He is a well-taken care of kitty.

Yes, he is.

Peggy: I love it.

And I know that you have a special connection, 'cause you love cats also.

Matthew: I do, I'm a cat-- I am a cat fan.

I have a kitty at home.

Her name is Miss Fontana, and she's saying hello today too.

Peggy: Okay, well, you'll have to give her a big hug when you see her, but thank you so much for being on the show.

I just really appreciate your knowledge.

Matthew: The pleasure's all mine, and thank you so much for taking the time, and I love being able to share a little bit of my expression with you and your viewers.

Peggy: Thank you so much.

Matthew: Thank you.

Peggy: The world is in need of conservation.

When it comes to clothing, we can do many creative things with garments that were once on hangers but can now offer us another life.

Next time on "Fit 2 Stitch," we'll take a look at designers who have applied the principle of sustainability to fashion.

You will be inspired.

Join us.

♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ announcer: "Fit 2 Stitch" is made possible by Kai Scissors.

♪♪♪ Reliable Corporation.

♪♪♪ Plano Sewing Center.

♪♪♪ Elliott Berman Textiles.

♪♪♪ Bennos Buttons.

♪♪♪ And Clutch Nails.

♪♪♪ announcer: To order a four-DVD set of "Fit 2 Stitch: Series 12," please visit our website at fit2stitch.com.