Carine Roitfeld revient sur les looks qui ont marqué sa carrière | Vogue France

Elle le confesse : Vogue lui « colle à la peau ». Rédactrice en chef incandescente de Vogue Paris de 2001 à 2011, Carine Roitfeld a laissé une marque indélébile sur le magazine. Pour Life in Looks, la journaliste dévoile l’essence de son style, à la fois élégant et isolent, et les leçons tirées de ses amitiés avec les grands couturiers, parmi lesquels Helmut Lang, Karl Lagerfeld, Azzedine Alaïa, Martin Margiela ou encore Tom Ford. Au fil de ses anecdotes personnelles (comme le jour où elle a teint la semelle signature de ses bottes Louboutin sous prétexte qu’elle n’aimait pas le rouge, s’attirant les foudres du designer), Carine Roitfeld tourne finalement, avec nous, dix années de pages de l’histoire de Vogue France.

Réalisateur : Tim Jarrosson
Journaliste, Social & Video Editor At-Large : Hugo Compain
Responsable de la Production : Amaury Delcambre
Chargée de production : Meryl Marciano
Assistante de Production : Pauline Sarlande
Responsable du Casting Vidéo : Adèle Ligerot
Coordinatrice du Casting Vidéo : Sarah Tauxe
Chef Opérateur : Pierre Wrobel
Assistant Cadreur : Sébastien Sauvan-Magnet
Chef electro : Sacha Bozino
Son : Hubert Rey-Grange
Make-up : Hugo Villard
Hair : Michal Bielecki
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Monteur : Simon Le Berre
Étalonnage : Rafael Sultan
Ingénieur de Mix : Manuel Lormel
Motion Design : Gabriel Delmas
Post-Productrice : Agathe Romain
Chargé de Post-Production : Edouard Condat
Assistante Motion Design : Hanae Khennoussi
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Développement Vidéo: Louise des Ligneris
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Opérations Vidéo : Marie Jaso
Directeur de la Vidéo : Thomas Leroy
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– Hello Vogue Paris.
– No! Not at all. Bonjour Vogue France. This is Carine Roitfeld. I’m in the Vendôme suite
at the Ritz Hotel in Paris, and I’m going to share with you the looks
that have marked my career. It’s off to a great start. I love this photo. I love this made-to-measure
dress by Helmut Lang, who used to do bespoke tailoring back then. And above all, it’s my first Met,
and you never forget your first Met. And this dress is extraordinary
and one of the few dresses I still have. It had raffia on the skirt. And to have Helmut Lang
as my date, after all, the one and only. It was great. When there were Helmut Lang shows,
everyone wanted to snatch the fashion show piece immediately. And today, the funny thing is
that everyone wants to do Helmut Lang, which seems very simple, very easy,
and nobody can do it. What’s more, today
he’d be doing something completely different, making different clothes. Not always digging into vintage. He’d think differently
about women and men. And also, what was fantastic
about the Helmut Lang shows was the show itself. It was one of the first shows
where men and women walked together. And the funny thing was:
the men walked behind the women. He also regularly
used the same models. Model loyalty, it’s not like… There’s a new model, we’ll take her now. Loyalty to the team,
loyalty to the editors. I really like simplicity. I always find that women
or men wear too much. t should always be about simplifying,
simplifying, simplifying. When it’s perfect,
you don’t need extra details. Her shoe was perfect,
his T-shirt was perfect, there was nothing to add. That’s the ’90s. I think those were my best years in fashion, and my best years in music too. I loved working in the 90s. I was very lucky. But he’s also an extremely generous designer,
because after the shows, he had a huge stock
and all the people he liked could come to his stock
and take the T-shirts or clothes they wanted. So he’s generous, talented… Everybody wants to wear it right away. It didn’t feel overdressed. It was just that
je-ne-sais-quoi that makes the difference. We’re always at the Met. This time, it was a Met Gala
where I went with Karl Lagerfeld. So I dressed in Chanel
because I was arriving with Karl. But there’s this little
thing I always do. We’re not going to say destroy the look
a bit, but it’s almost like that. Here, instead of having the blouse
perfectly tied with the perfectly made bow, it’s a bit undone,
creating a slightly sexier neckline, a bit less demure,
and a well-slit Chanel skirt. I don’t think this look is out
of fashion either, and it says it all about the way I dress:
it’s pretty classic, with a little something wrong with it. The white satin blouse
was a little too unbuttoned. But it’s perfect with Karl,
because a lot of designers absolutely want us to respect their look, the way they button,
the way they put everything on, whereas Karl, on the contrary, likes to be surprised. So on the contrary, Karl, I don’t remember,
but he must have said: “Oh, Madame Roitfeld, I really like your look, it’s
very good what you’ve done with the shirt”. Because he had this way of talking,
quick and snappy. But he liked it. He’s one of the few designers
who likes to be surprised and who likes people to play,
so to speak, with his clothes. So there I was, in the archives. I don’t think the looks went together
in the show, but I had created this look. And he liked it. Alaïa. Something crazy. People don’t know. But when Alaïa was young, to pay
for his studies or simply to pay for his survival in Paris,
he lived in a building, the Lord Byron,
where I also lived. He had a maid’s room,
and to pay for his maid’s room, he delivered the mail. It has to be said that he started out… I don’t like to say at the bottom
of the ladder, but really on his own. Nobody helped him in the beginning, so… He was a baby-sitter afterwards. Before he became as famous
as he is today. Well, Azzedine, I’m talking
about him in the present tense, is an extremely generous person too. I’m lucky in all my friends. I call them my friends. He gave me this corset. But I committed a little infidelity. He gave it to me in white,
and I dyed it black. Because a white
corset isn’t really my thing. But he agreed, he liked it. And I still have that corset. It’s iconic. I don’t know how many years, it’s
over 20 years old, but I still wear it. So the corset is something I like,
even if it’s honestly not that nice. And I feel sorry for the women
back then who had to wear very tight corsets. But when you have a corset,
you stand up straight, you stand better. You’re in a dancer’s position, shoulders
back, chest forward, and I think that’s good for the figure. If I stand like I’m in a corset. That’s it, that’s how I’d be
and everything’s prettier. It gives you a silhouette,
a waist, it makes your breasts stand out. I still have it
and I can still close it. Ah! This is a Junya
Watanabe skirt and I wore it with a big, masculine
striped shirt. I think, maybe from time to time,
you can’t see, the shirt sticks out a little bit from the skirt. It was… I liked the shirt to show. I’ve always loved the masculine-feminine
style, and it gave it a little personal touch. And I think
it’s a Charvet shirt. Because the most beautiful stripes,
the most beautiful shirts, are Charvet. I did a series for American Vogue
at the time, called “Catwalk To Reality”. And that’s exactly it. The complete studio photo, total look. And then on the street,
how you could wear it, like a paparazzi shot,
and it would give a look like that. It’s a way of presenting it
to fashion people, but when it’s in the magazine,
to the female readers, so they aren’t intimidated
by brands that might seem a bit scary, like Comme des Garçons, Junya Watanabe,
which are often a bit extreme. How to wear it in everyday life? That, I think, is one of the things
I’ve learned for myself and that I’ve often done in my fashion series. I think it makes the reader’s job easier
when she wants to dress, it gives her a new point of view. On a catwalk, you find: “Oh dear,
that’s not for me”, whereas in the end, this skirt is perfect. Then there’s another coat… Another Azzedine Alaïa piece,
which he lent me to go to the New York shows, just as I was starting to do all the shows. Because when I was at Vogue Paris,
France today, we did everything in New York. It was my New York debut. And in February, it was
excessively cold and I had gone to his place to borrow a warm coat. And it rained a lot. A lot of rain in New York,
for New York photographers. They called it The French Look
and it was a full-page spread in the New York Times by Bill Bingham,
who followed all the fashion shows. It had a kind of dancer,
skater feel to it. I think Madonna copied it afterwards. And given its success, when I gave it back
to Azzedine, he said: “No, it’s yours now. We’ve seen you in it so much,
now it’s your coat”. So I still have that skater coat. It’s all lined with shearling on the inside
and it’s a real looker, as they say. People don’t know that I started out
as an editor at Elle France. And we already had the Alaïa brand there,
even though I started a long time ago. And the great thing was that all the editors,
like me, loved his dresses, his black dresses, his studded belts. We didn’t necessarily
have the money to pay for them, because they were pretty expensive clothes. And he was the only designer
where you could pay for a black wool dress in 3 or 4 instalments. Papa Azzedine. It stuck. There are only 3 of us who call Azzedine, Papa Azzedine: Naomi and Farida. These are Azzedine’s 3 daughters. – I’ve got a great dad.
– Karl. I remember it was a Chanel show
in Los Angeles at a… private airport,
I think. And here I am wearing
a Christopher Kane dress. He was nice because he’d made
it a little longer for me, because it was much shorter at the show,
and he’d lengthened it especially for me. And what’s amazing about this photo
is that Karl is a very… I wouldn’t say shy, but
someone who doesn’t like to touch. He’s someone
who doesn’t like being massaged. He’s someone who doesn’t like manicures. He doesn’t like to be touched. And the fact that he takes me in his arms
like that is a real sign of friendship. Another person
I talk to in the present tense. It’s crazy because these 2 people
I’m talking to in the present tense supposedly hated each other,
Karl and Azzedine, great enemies. And Azzedine left us before Karl. And when I went to see Karl,
we talked about it and he told me: “He wasn’t my friend,
but I recognize that he was a very great designer”. And I think that’s pretty chic. And once, when he was quite old,
he sent me a huge bouquet of flowers, again from Lachaume, white lilies
with a fantastic letter. It was Mother’s Day and he said:
“Madame Roitfeld”, he always called me that, “you can be a very good stylist,
but also a very beautiful mother. Happy Mother’s Day.” So, for someone who doesn’t have children,
to remember that it’s Mother’s Day, to send me flowers home with that note…. I still have the note. He’s an exceptional person
with whom you learn a lot. Ah! I’d love to have him back. I lost this trench coat. I just love it. It’s a total Margiela look,
the trench with the big shoulders. And the thigh-high boots,
you’re walking on nails. Frankly, it was quite comfortable,
it was fine. I’m quite shy. And that’s when people started
to recognize me. I think it’s the same moment where fashion
has become more and more interested in what goes on
behind the images. So, whether it’s the editors,
the photographers, the models’ personal lives, the behind the scene. So obviously, for behind the scene,
the editors, we’re there, in front, and then I’m generally rather graceful. I’m rather… I smile at people. So maybe they liked me too. It’s important to be likeable
because often, people in the fashion industry aren’t likeable. They’re pretentious, they’re a bit haughty,
and wearing sunglasses can give you that idea. But in any case, in my case,
they quickly understood that I was neither haughty nor pretentious. And it’s also, I think,
the way I am with people, I can be as comfortable and relaxed… Let’s say people we know… If I’m talking to Anna Wintour,
if I’m talking to my intern, I have the same politeness or way of speaking. I’m not going to change, it’s all the same. Karl was like that too. I learned a lot from Karl. Martin asked me to model for him,
for that famous show he did in the Paris metro, illuminated by candles,
which would be banned today for safety reasons. The metro, at night,
the stairs, the candles. So I modelled for him. However, there isn’t a photo of this show,
there weren’t the Instagram photos, etc. yet. So I had my hands soaked,
as he always does, in black. And I don’t see him
often now, but we email each other. I saw him before Covid, and he invited me
to dinner at his place. Everything is white, like in those stores,
all the books are covered in white paper. On the other hand, he cooks very, very well
and likes champagne, arguably more than I do. I always leave magazines
outside his house. He always sends me a note, and I asked Martin
how things were going with John. And he told me that they had met
and that he respected John a lot. Afterwards, I say to myself, it
must be difficult to have your name and have others make clothes and fashion
shows with your name. But in the end, it works. Because this is John. It’s very John, but it
could have been Martin too. John, I’m thinking of finding
common ground with Martin. And what’s more, on Martin’s part, there was nothing aggressive or mean, or sad that it was John… On the contrary, he thought it was a good…
a different continuation, but on the same level… within
his universe of talent. I think he’s like Helmut. He’s happy to be out of it. But on the other hand, they’ve
both turned to art. Helmut is more into sculpture. He showed me, Martin,
he’s more into paintings. Anyway, I think you’re an artist when
you’re a designer and a visionary like they are. So again, he’s someone with whom I have
a bond, even if I don’t see him very often. And we may not really have a future… but we have a great past together. We loved photographing his collections. We loved going to the shows. When Martin stopped, when we did
a Martin Margiela special. He trusted me to do the editing
and photos with Inès Valensverd. And he was like me, he has
this thing for mixing classics. So he wanted all his clothes
to be mixed with a hyper-classic piece: a Chanel bag,
a Burberry trench coat… and in the end, it works. Wow! Tom Ford is very important. First, because… People are going
to tell me I only have friends in fashion, but Tom Ford is a friend. I’ve worked with Tom Ford for 27 years,
from the Gucci years through the Saint-Laurent years
and on to his own brand. 27 years of friendship is a long time. Once again, you can
have loyal friends. He’s a virgo, the same sign as me and Karl,
so virgos are very loyal. And here, it’s a Saint
Laurent skirt by Tom Ford that I adore, which is still
in my wardrobe, and I can still fit into it. Clothes are better
than scales, too. And it’s very, very, very bare on the sides. It’s like shorts after all. And I love this skirt. I’ve worn it a lot. Here, I’m wearing it with the black
velvet jacket from the Saint-Laurent collection by Tom Ford,
and with my favourite shoes that I’ve worn a lot. I’ve repeated myself a lot
on these shoes, but I love them. Maybe it’s the bondage aspect of
these Azzedine Alaïa shoes. 4.3in. Very hard. There’s no zipper on the side, you have
to lace them up, so you have to prepare a little
in advance, but it’s worth it. And it’s funny because I think in the photos, you have 3 different Saint-Laurent designers
that I’ve mixed this skirt with. This is when Tom Ford was Saint-Laurent. One time, I’m wearing it with a blouse
by Monsieur Saint-Laurent and another time, I have it with a shirt
that’s a bit Victorian, with little shoulders, and very, very tight
around the waist by Stefano Pilati. So 3 Saint-Laurent
designers, one skirt. Not bad, eh? I don’t think anyone
could say it better than that. Tom Ford’s Gucci years,
we laughed a lot back then. Anything was possible. Much more so than today. And it was fun because, in a way,
Tom took a lot of inspiration from me. He looked at how I was dressed,
how I wore the shoes, how I wore the coat, and in the end,
I think I was, or maybe still am,
his feminine continuity. Because he can’t say: “The heels,
I don’t like with this skirt…” So I told him everything. “Unbutton the shirt much lower,
the pants much, much, much lower waisted.” And everything I said, everything
was possible. And so we spent 10 years at least, Gucci, with iconic ads, I think. Between Mario Testino
and Tom Ford… star wars. It’s a good thing I’m a diplomat. But everything went well. We did some exceptional campaigns. The G-Point is me. I had absolutely no idea
that we were going to revolutionise fashion, so to speak, with these Gucci years. Because I think what Tom did… He revolutionised… He gave a new idea of fashion. Everybody wanted to dress in Tom Ford, sorry,
in Gucci by Tom Ford in those days. And if women couldn’t afford a coat
or a bag, they bought a pair of glasses. Because wearing something by Gucci
was like belonging to a very underground private club. And that was kind of
the message we were sending. I’ve never been to Studio 54, but Tom has. It was a bit like the nightclubber message
of famous people, of those years that seemed
exceptional, that I never knew. And it was a bit of a dream,
the Gucci dream. And then after Saint-Laurent… Well, Tom
was very much under attack. It’s like a Texan stealing the Eiffel Tower. 27 years of work, he’s missed. He’s the one we have the most fun with. He’s crazier than me. He’s crazier. Above all, he’s funnier than I am. And working with Tom, it was really… We had lots and lots and lots of fun. Like we don’t have fun today. This is one of my favourite
coats that I still have. It’s a Prada coat in
a slightly boiled military fabric, so it’s very warm with what I like,
the very marked waist, as if you were wearing a corset. It’s like a corset on the inside. And on top of that, there are coats
and clothes that make you look good, for a colour, or I don’t know, a fabric. And this coat makes me look good. I look a bit tanned when I put it on. And then there’s a story,
because these are boots… The tall lace-up boots
I really like are Louboutins. Louboutins have red soles
and I don’t like red soles. So I dyed them dark brown
and they didn’t speak to me for several years. I’m sorry,
but I think the red sole doesn’t work for me here. But oh well. But the boots are gorgeous. – Oh, my!
– Almost naked. It was the Vogue 90th
Anniversary Costume Ball. I think it was… I’ve long dreamed of doing a costume ball
a bit like the big ones you see. Truman Capote,
Baronne de Rothschild, and so on. And it’s true that there hasn’t been a ball
in Paris for a very long time. And for Vogue’s 90th anniversary,
we decided to do a costume ball. And it’s fun because,
well, I’m lucky enough to be surrounded by designers. Thank you Riccardo
Tisci for this dress. He lent me the cape that was in his show
and Peter Phillips made the mask. But the photos of this ball,
which I still look at from time to time, are extraordinary. People really made an effort. Everyone, from Kate Moss to Gisele,
from Riccardo to Lucia Prada, everyone came to this ball in costume. The entrance was fantastic,
there were big lights in the garden and so on. It’s a beautiful memory,
at least for me. It’s the famous Vogue
where the cover was Lara in a black and white mask
with the Vogue 90th anniversary supplement, and we made sure
that all the images were easily… the pages, sorry,
were easily detachable so they could be framed. Because the photos of Bourdin,
of Newton, iconic photos in this supplement
which were made so that people could hang them on the wall. I dreamed about it for a long time. Luckily, I managed to do
it just before I left. Yes, you could say
it was the pinnacle. It was, for me, practically
10 years, because it was, I think, in November, October. Maybe it’s October, when
collections are made. And I left, I think, in February. So it was really… I knew I was leaving and…
10 years is enough! A sublime gilded
cage, but a cage nonetheless. So I wanted to leave. Let’s call it a good luck number. And I never got the Vogue Blues,
because when I left, I went straight to work. The next day, I was working. But now, I confess,
I still have the… The title, Vogue, is exceptional. Somehow… even though I’ve worked on other
magazines, I think it’s the most beautiful magazine title in the world. And to come back,
to be invited to work for this Vogue World. I’m very happy to come back and
do this show soon, which is going to be here at Place Vendôme. And it’s fun to be back with the Vogue title,
which was really a good fit for me and brought me good luck. Ah, this very undressed,
very angelic look, let’s say, was for a Ralph Lauren medal
ceremony at the Élysée Palace. And that’s something
I wear very often. Black lace and capes on top,
it’s romantic gothic. Probably Dolce & Gabbana. Decidedly, Dolce & Gabbana, very
present on these pages. Because this polka-dot dress, as
I recall, is a Dolce & Gabbana dress. And here, you see, I often wear
the same clothes, the same shoes. It’s the same
Alaïa shoes that I often wear. I don’t carry a bag,
I hold my jacket in my hand. So, let’s just say relax, nothing at all. Not… There’s just… Yes, there’s my Caesar compression there. And again, if I may criticise,
I think it was wrong to put it there. It would have looked a lot better
without the necklace. I’m not someone who likes prints, so
the only prints I can appreciate are polka dots
and leopard. For me, they’re not prints; they’re classics,
they’re solid. Yes, polka dots are solid. But I love the panther
and I wear it in all sorts of ways. Here, I’m wearing it in an evening style,
with a black ruffled shirt and lace-up thigh-high boots,
which we had made by Gianvito Rossi for Vogue at the time,
and which I’m wearing. We had a kind of agreement
with Gianvito Rossi. I told him the idea for these boots. I said, “We’d like to do lace-up boots. They go up high, really high,
and they have like a garter at the top. I’d like that for photos.” And finally, he made them for our photos. Of course, I’d take the opportunity
to get a pair. And then he’d sell them in his boutique. And it was a duo that worked like that
for many years at Vogue. These were waders
back in the costume bal days, I think. It’s almost bespoke, you might say. I love the leopard. It’s a… Leopard is a very special thing to wear. It can get very vulgar
if you don’t wear it right. But I must have a little voice
in my ear saying: “Wear it with mauve, wear it
with red, it’s not done, wear it with very high laced waders. It’s a bit vulgar,
but it’ll look good anyway.” So I always have this little voice
urging me to do something that isn’t done. White shoes with a black suit,
a black bra or a white shirt. Wearing white shoes after,
I don’t know what date in the States. Anything that’s not done,
I like to do. That’s my own little punk side. So my mother’s side is a bit more,
shall we say, classic bourgeois. But from my father,
a Russian producer, there’s something a little more relaxed,
freer, a little cheeky, a little irreverent. I think I take after him. And above all, he
was excessively elegant. So I don’t know if I’m as
elegant as my father, but elegance is something you can’t learn. Because at the end of the day,
it can be called vulgar, but in the end, it’s magnificent, isn’t it? There’s a very fine line,
very difficult to draw, between chic,
sexy and vulgar. And it’s right on the edge,
you don’t want to fall to the other side, but it’s a fine line you have to walk. And I hope
that so far… I’ve made mistakes too,
but I’ve walked it well. I’m a good tightrope walker, aren’t I? To combine chic
and classic with punk. That’s my signature today, after all. Because I’m wearing a tennis-striped
suit with shoulders, very masculine, very classic. And underneath, I have
a completely punk T-shirt, ripped, by John…
that John Galliano gave me for the Margiela collection. And I love mixing the side… It’s really ripped, look… Punk of my T-shirt
with a very masculine suit. So these are my evening looks. You know, as I said, I wear
the same outfit very often. This is a Rick Owens skirt, satin… It was silk,
I think, which I’ve had for… I’ve always had, for maybe 15 years,
with a Rick Owens T-shirt as well and just a Tiffany’s necklace. It’s a scorpion. It’s very simple, it couldn’t be simpler. It’s a very sexy skirt
because it’s very open in the back and I’ve worn it at least fifteen times. I have a lot of Rick Owens skirts,
and he makes the most beautiful fitted skirts like that. I always buy my fitted skirts
from him. They’re really well cut. People don’t think of going to Rick Owens
for skirts like that. I have at least a dozen Rick
Owens skirts like that. They’re my wardrobe staple. Another jacket, Junya
Watanabe, in khaki. I brought it today. I almost hesitated between this jacket
and that jacket, you see. Transparent. So, we’re almost naked underneath, with
a skirt in my opinion, from Rick Owens, very straight, very simple
and a very fashionable jacket, if you can call it that. I think the pencil skirt practically became
my uniform when I arrived at Vogue, because before,
I was often in pants, in jeans, like most of the other editors. And I wanted to have
a uniform for Vogue. To be taken… not more seriously,
but something more Parisian. And I started wearing
high heels because it felt… I felt stronger, more confident,
in heels and taller too. And I think that when you know yourself well,
you have to know what’s pretty inside you. I’ve got nice legs, nice ankles,
so I might as well show them off. I don’t have great cleavage. I don’t have a
great mouth, I don’t wear lipstick. So when you know yourself well,
you put your best foot forward. And the pencil skirt has become a signature. But it’s not easy. You have to know how to cross your legs,
you have to know how to get up from a chair. You have to know how to walk
in a pencil skirt. And also khaki, it’s my second colour. I always wear black and khaki,
especially in summer. So I have 2 wardrobe colours: khaki
because it suits me and black. And more big ones… I’ve always worn mask sunglasses. I think these are the Rick Owens,
which I’ve worn a lot, because they really protect you when you’re shy. This is a great moment. His name is Carine Coat. When I was working with Max Mara,
we created this Teddy Bear Coat, which was a huge success,
and I wore it the day after the show because it was snowing in Milan. And as you can see, it’s a bit big. I roll up the sleeves. I didn’t have any tights. I have shoes, I remember very well… Roses, Prada. Everyone wanted this coat
and called it the Carine coat. And I never wore it
because beige doesn’t suit me at all. It’s absolutely not my colour. So, unfortunately,
I offered it to everyone, but not to myself. I had to wear it once, the day
I wore it to Milan, and after that, I never wore it again. The power of a photo. The shock of words. I remember that. There was the shock of words
when I wore it, we went back to the Met. This time, it’s with
Riccardo Tisci for Givenchy, and so this collection,
he’d done a lot of Disney animals. So this is the famous Bambi. And so I arrived like this,
it’s a sweatshirt, but a tank top. I arrived like this, with this very
transparent skirt at the Met. And I think, you know,
we always go up to Anna, say hello, when we arrive at the Met,
after we’ve done the red carpet. I think she smiled at my slightly…
untraditional, shall we say, Met look. But that evening, nothing was
traditional with Riccardo. There was Beyoncé at the table,
there was Madonna, there was Kim, there was… Riccardo’s tables are tables… Everyone comes to visit you at the table. It’s extraordinary. It was one of those evenings. But I felt very beautiful in my Bambi
and I kept the sweatshirt. My daughter stole it from me. And it’s a beautiful souvenir of the Met. I don’t have much… except my Rick
Owens skirts, which I keep all the time. The rest I don’t have anymore. I have a museum at Max Mara. They have a building with
a whole museum of clothes, their own and other brands. They’ve made several
racks of my clothes that I don’t know
where to put, that I don’t wear anymore, but that I don’t want to give away… A couture dress made by John Galliano,
Riccardo’s clothes, and so on. So, there are several racks with my clothes. They’re very numbered,
well installed and protected. So I have a whole museum. I don’t go there often, but I know
my clothes are there if I ever… The Junya Watanabe skirt,
the first one, is in that museum. The Riccardo Tisci
panther dress is in that museum, so finally the pieces are in the museum. The pieces I’ve kept. This one I still have too, it’s
another Rick Owens skirt, you see! It was at the amfAR in Cannes. A bit different
from the red carpets of the guests. So it’s a Comme
des Garçons top that’s slightly gold, tied at the neck, like a kind of camisole,
with the slightly silver-gold Rick Owens skirt. So it’s a bit of an invented
evening gown. It’s a completely invented evening gown. And I liked it. It was different from the
others, it was less evening too. I don’t like the feeling
of being dressed up. Besides, I work at amfAR. I’m not going as a guest,
I’ve got a show to watch, guests to entertain,
so I’m in work clothes. So that’s it. Unfortunately,
there’s no pocket in this skirt. Oh dear, here come my back problems. As I say, I got off my shoes
because I broke my back. So for 6 months, I had to wear
a surgical corset, a corset made by the hospital. Fortunately, they made it for me in black. So, you put big coats over it
or you put it on your shoulders because it took up so much space. But I dressed in it for 6 months. But this corset didn’t stop me
from getting dressed anyway. I’ve got quite a fashionable coat. At the time, I think it was by Hedi Slimane. And in one of the photos,
you can see me wearing a studded skirt by Azzedine Alaïa,
so corset in front. It was… Finally, I wasn’t hiding it. It became… I tell you, I like corsets. Well, at the time, I didn’t like
them so much. It’s part of an outfit,
it’s a look, you have to, well… Then, from time to time, I had
to wear a cane. A cane, but still with heels. Well, I’m not going to say it’s all about the
look, but you’re not going to give up just because you’ve got a corset. And it wasn’t very pleasant. But I’m okay now. – I’d rather forget about it anyway.
– So to hell with the corset. So this is a trousers look,
but a rather special one because it’s a pair of Margiela trousers
with jeans underneath and a Margiela jacket too. It’s a very successful look too. It’s another look I’ve seen
that’s inspired a lot of other designers. But the funniest thing was the day everyone
thought it was an extraordinary look. “I was working with Karl,
and when you sit down and you’ve got high-waisted trousers
that are a bit stiff like those, it gives you a belly. And Karl said to me, “Take that
off right now, Madame Roitfled, you’ve got a belly with that look. I don’t like it at all. Go get changed.” So when Karl says, “Go get changed”. You change. Fortunately, I didn’t live too far away,
but here’s someone who tells the truth, it’s rare. People always think you’re great, you’re
the most beautiful, the best looking, etc. But it’s nice once in a while
when people tell the truth. It’s one of Margiela’s signatures,
to have the jeans on the inside that went up a bit high. Inevitably, they take up space and when
you sit down, they bulge out, making you look
paunchy, which Karl didn’t like. Now, I see, I’m wearing the famous Tabi
that Martin Margiela gave me 30 years ago, which took me 25 years to wear
because I thought they were so ugly. Now I wear them. But it took me a long time to accept them. You see a lot of them now, don’t you? But back then, I really thought… they look like animal feet, goat feet. It took me a very long time to accept them. And he gave them to me. I mean, I wear them. Right now, I think I’ve got a Balenciaga
suit with big shoulders. It’s a black suit. I had my suit phase,
but I think the Tabi shoes do the trick, let’s say, to make this suit… well, the very tight fit,
the Tabi shoes… very fashionable. Always. This is a necklace Sakaï gave me. Triple-row chain that I liked. A bit punk, too. Another of my Rick Owens evening skirts. This one’s a little more open on the side,
but it’s an evening when I mix Rick Owens with a Chanel jacket. Wasn’t easy, was it? Mixing Rick Owens and Chanel and,
in the end, it works really well. It’s a look… it’s cool. Karl would have loved it. Karl gave me this jacket. It’s his last collection
at the Met, in the Egyptian room. And it was one dedicated to scarabs. All the Egyptian lucky charms. And so it’s faux crocodile, faux leather,
I don’t remember with the scarab buttons. And this one, I have it,
it’s a gift from Karl too, we’re keeping it. This is my perfecto jacket
that I’ve had for at least 30 years. Very big, very rotten,
very old, very soft. And this is a look for Chanel. It’s my Chanel wink, so I wore black pants and lots of Chanel pendants and necklaces,
pearls, little flowers, ribbons, all in Chanel,
but with the perfecto. I think it’s a cool
look for Chanel. A personal look. I’m telling you, I never dress in Chanel,
but from time to time, we wink at each other. Are you pretty sure
Karl would have loved this? Of course, he would have loved it. “Madame Roitfeld, what kind
of jacket is that? Where’s it from? I like it a lot.” He would have loved it because anything
that was just a little bit anachronistic, that wasn’t politically correct,
something that simply surprised him… He liked it. So he would have loved that, I’m sure. I’m sure he would have loved it. Yes, he would have liked that very much. Thank you very much Vogue France
for this album of memories of looks that have marked my career. And at the same time,
I’ve seen mistakes I won’t make again. Thank you very much.