Chanel has always symbolized elegance; the brand's identity has always been crystal-clear. It is how Karl Lagerfeld has pushed the boundaries of what is possible, reinventing classic Chanel pieces without compromising the integrity of Coco Chanel's original designs, that commands such respect. The initial context of his work demanded a kind of radicalism. Before Karl, we all looked to couture for inspiration and direction. Now, through his work, fashion originates from the street, the media—anywhere. This has resulted in exciting collections that are provocative and sensual. His unrelenting experimentation in fashion, art and photography offers us endless possibilities yet is always grounded and relevant.
Karl consistently reinvents the program with his own ideas and interpretations, which aren't tied to the form of an institution. Karl, 69, is a passionate connoisseur of architecture. He invited me to create the Mobile Art for Chanel, likening the value of my designs to that of great poetry. I could not resist the challenge. He allowed us the greatest degree of experimentation, and we used the latest technologies to create a woven topology of fluid spaces. Visitors are wrapped in a spatial complexity that simultaneously captures and liberates.
Mobile Art for Chanel illustrates how we both feel that fashion and architecture must constantly evolve. What's new in our generation is a greater level of social complexity—manifest in its architecture, art and fashion. There are no simple formulas, no global solutions and little repetition. Karl has spent a career showing us just this.
Hadid was the 2004 winner of the Pritzker Prize in architecture