In a season when coat-dresses and skirtsuits have risen to somewhere near the top of the item charts, Chanel presented a series of fashion s most poised and charming versions. That formula transmitted some of the loveliness of Karl Lagerfeld s sublime origami-paper Spring Couture collection into super-feminine white collar and cuff treatments—frothy plissé ruffs, chiffon camellias, and French maid frills encircled the neck or sleeves on soft, fitted black silhouettes. Cleverly, today s outing also achieved a rare balance between being grown-up and youthful—a note set by the casting of Karen Elson to open the show. Here was a fabulous-looking 30-year-old woman, rather than some anonymous waif.
Lagerfeld tagged the collection "Belle Brummell," a gender-reassigned quip referring to the British Regency dandy who dictated men s fashion by tying his cravats in ever more elaborate configurations. The pun also gave full permission to bring the classic Chanel white georgette blouse into play, a perfect device for subtracting the austerity from black in a distinctly Rue Cambon manner. Lagerfeld worked it every which way, in bouclé, lace, knit, satin, and paillettes, while also making a witty swerve in the direction of the season s motorcycle leathers (interpreted here in slim drop-waist dresses) and puffer jackets.
What color there was turned up in brief passages of pale green or baby pink. Admittedly, that green wasn t the most felicitous shade in the palette for clothing, but it was really there to underline the presence of the jade Deco-style pendants and neckpieces—a further echo of which could be found in the jade rings implanted in several pairs of heels. All in all, though, this wasn t one of Chanel s more playful simultaneous broadcasts to the world—more a serious reinforcement of the brand s eternal attractions.
