Karl Lagerfeld’s Heterosexual Fantasy
July 21, 2011 § Leave a Comment
For Fendi’s latest ad campaign, Karl Lagerfeld shot Polish beauty Anja Rubik, American model Brad Kroenig, and his French pet, Baptiste Giabiconi, in what looks like a late 19th century artist’s studio. Kroenig positions himself behind an easel while the statuesque Rubik languidly poses on various scattered items of furniture: a mustard-colored chair, a burgundy love seat, a stack of frames leaning against the wall, a wooden side table. In the background sit glass jars filled with brushes and monumental paintings, which in their soft color palette and ethereality, vaguely resemble French Impressionist works.
The shoot draws a comparison between the Old World painter-model dynamic and the more contemporary designer-model relationship. In the ad, Kroenig utilizes Rubik’s body as the inspiration for transforming a blank canvas into a work of art. In a similar vein, Lagerfeld directs Rubik, Kroenig, and Giabiconi to carry out his artistic vision for the Fendi ads. Instead of paint, however, Lagerfeld uses luxe fabric, flattering lighting, and a camera to create his work.
The images have a strong heterosexual imperative, which starts with Rubik’s sultry poses toward Kroenig and culminates in Giabiconi and Rubik posing with their fictional children for a family portrait. The heterosexuality of the photos is bizarre in light of Lagerfeld’s conspicuous homosexuality. To my knowledge, Lagerfeld hasn’t had any public romantic relationships with men, but his continuing infatuation with Giabiconi alone is telling. For the past few years, Giabiconi has starred in virtually every ad campaign and walked in almost every runway show Lagerfeld has directed, most of which are for womenswear. He even starred in Lagerfeld’s video ads for Magnum ice cream, one of which casts him as a playboy photographer. If I didn’t know better, I would assume Giabiconi served as Lagerfeld’s pool boy on his off days, scooping up leaves in a g-string while Lagerfeld looked on.
The series of ads could collectively be read as Karl Lagerfeld’s heterosexual fantasy. He shoots Kroenig gazing at Rubik, then puts himself in Kroenig’s position, staring at Rubik as if he were Kroenig. In doing this, he grants himself a heterosexual gaze. In another image of the series, he creates a family portrait with Giabiconi and Rubik as the parents, creating an image of the nuclear family he can’t have. Rubik’s conspicuous wig, Giabiconi’s stiff pose, and the incongruity of expression among the family members create an artificial quality, suggesting Lagerfeld’s awareness of the scenario’s impossibility in his own life.
One wonders what led Lagerfeld to create this imagery that strays so far from his own experience as a presumably gay man. But perhaps the answer is obvious. Lagerfeld is just doing what he does best: creating a fantasy.