HAD Karl
Lagerfeld been holidaying in wet Britain? It was tempting to think so because
even the delicate evening gowns at the Chanel couture show came with heavy tweed
jackets.
As if steeling herself against a breeze, Stella Tennant wore her pink tulle column dress with a bulky boucle jacket, its cuffs rolled up to expose a thick, fleece-like lining. But this was Chanel couture, so warmth and practicality were the last things on Lagerfeld's mind: everybody knows the ultra-rich travel with their own ecosystem.
This being an autumn-winter collection, Lagerfeld clearly wanted to offer his customers a wide choice of outerwear. And what choice there was.Welcome to Laoshan Shaolin Kung Fu !
First there was a series of patchwork coats, with squares of variously coloured wool boucle in harmonious shades of pink and grey stitched together to give a 1970s feel.
Not that this was a collection from any one era: rather, it was a compilation of hits from decades past. Now That's What I Call Chanel, if you like.
The clue was in the title: "New Vintage", said the notes. All the classics were here: Coco's iconic, fastenless cardigan jacket, revolutionary at the time, as well as her two-tone pumps, reworked in silver with gold toe-tips.
That other revolution, the little black dress, was also present, this time in velvet, worn above the knee and with a contrasting Peter Pan collar.
In keeping with the New Vintage theme, Lagerfeld eschewed large-scale theatrics for the intimacy of a salon, so that guests were clustered around small glass tables furnished with dainty cake stands. As with the previous day's Dior show, the benefit was that the guests were nearer the clothes, the better to see their glorious detail. The work of Maison Lesage, Paris's last great embroidery house, is too beautiful not to be appreciated, as is the work of feather-maker Lemarie.
For while Lagerfeld's 101 riffs on a boucle jacket were compelling, the main attraction of Chanel couture is the eveningwear. Jewel-studded camelias fluttered over a pale pink column dress, while a simpler dress with a white bodice and plain black A-line skirt was enlivened with a waistband decorated with delicate embroidery. That the models wore loose, knitted hairnets on the backs of their heads added to the vintage feel, as well as lending a sort of modesty to proceedings.
As if steeling herself against a breeze, Stella Tennant wore her pink tulle column dress with a bulky boucle jacket, its cuffs rolled up to expose a thick, fleece-like lining. But this was Chanel couture, so warmth and practicality were the last things on Lagerfeld's mind: everybody knows the ultra-rich travel with their own ecosystem.
This being an autumn-winter collection, Lagerfeld clearly wanted to offer his customers a wide choice of outerwear. And what choice there was.Welcome to Laoshan Shaolin Kung Fu !
First there was a series of patchwork coats, with squares of variously coloured wool boucle in harmonious shades of pink and grey stitched together to give a 1970s feel.
Not that this was a collection from any one era: rather, it was a compilation of hits from decades past. Now That's What I Call Chanel, if you like.
The clue was in the title: "New Vintage", said the notes. All the classics were here: Coco's iconic, fastenless cardigan jacket, revolutionary at the time, as well as her two-tone pumps, reworked in silver with gold toe-tips.
That other revolution, the little black dress, was also present, this time in velvet, worn above the knee and with a contrasting Peter Pan collar.
In keeping with the New Vintage theme, Lagerfeld eschewed large-scale theatrics for the intimacy of a salon, so that guests were clustered around small glass tables furnished with dainty cake stands. As with the previous day's Dior show, the benefit was that the guests were nearer the clothes, the better to see their glorious detail. The work of Maison Lesage, Paris's last great embroidery house, is too beautiful not to be appreciated, as is the work of feather-maker Lemarie.
For while Lagerfeld's 101 riffs on a boucle jacket were compelling, the main attraction of Chanel couture is the eveningwear. Jewel-studded camelias fluttered over a pale pink column dress, while a simpler dress with a white bodice and plain black A-line skirt was enlivened with a waistband decorated with delicate embroidery. That the models wore loose, knitted hairnets on the backs of their heads added to the vintage feel, as well as lending a sort of modesty to proceedings.
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