Even the debate swirling around the matching brides and pint-sized ring bearer (that closed Chanel‘s haute couture show) was not enough to dull the shine of Karl Lagerfeld‘s ingenuity.
The presentation was set against a towering woodland milieu complete with imported pine trees shipped individually into the Grand Palais. Guests who managed to make it through the woods were treated to seating inside a specially constructed “neo-classical” amphitheater.
The old-world romance of the set segued into an equally romantic collection bursting with alluring glimpses of ultra-feminine shoulders. Lagerfeld, who said “the idea is to make the shoulders beautiful,” certainly did not miss the mark. Creamy sheer lace paired with intricate embroidery, delicate applique flowers, and “horn-of-plenty” sleeves made for a wonderful introduction to what Lagerfeld has described as “reflection dresses.” The aptly named frocks are meant to reflect light onto the face of the wearer.
Along with the romance came Lagerfeld’s flair for dramatics. The designer couldn’t seem to resist dabbling in sequins and feathered accents, which were a playful complement to the bird calls that echoed throughout the woodland set.
Chanel’s iconic tweed was also a central part of the collection. Working with ash gray, pale pink, and off-white color palettes, the designer lightened the spring tweeds with interwoven pale silver and gold threads. The collection remained feminine right down to the lace and snake skin open toed boots donned by the models. The heeled boots, which went far past thigh-high, created the deceptive illusion that the models could be wearing leggings or even an extremely fitted riding pant.
