![]() There were at least 97 looks-that's a huge playground-but there was enough tweed to restore Chanel to its core. ![]() Always one to tap into the zeitgeist, Karl Lagerfeld turned the runway into a Parisian street and sent models on a women's lib. ![]() And that degree of comfort with bourgeois dress codes stabilized a collection that spiraled in a dozen directions. Karl Lagerfeld Put Ladies First at a Politically Charged Chanel Show. The whole show was staged on a single style of shoe, a toe-capped, mid-heeled slingback- ringard in local parlance, because it is so bourgeois, but Lagerfeld loved the poise, the confidence, the ease of walking it gave his models. Especially because the collection itself was the strongest RTW showing from Chanel in a while. (That was long before it became impossible for him to eat out, because of a selfie-crazed public that wouldn't wait till he'd swallowed his food before they invaded his space.) So this was actually one occasion when the usual, fabulously grandiose concept for a Chanel show stumbled.īut the original idea came from a place of love, so the stumble was easily overlooked. Caveat: The space was simply too vast to communicate the errant charm of a real brasserie, even those as big as La Coupole, Balzar, and Bofinger, all places that Lagerfeld used to frequent when brasseries were crucibles of culture. The Grand Palais, the grandest exhibition space in le tout Paris, was turned into the kind of all-day, leather-banquette-ed winer-and-diner you can find on almost any street corner in Paris. So you could almost construe Lagerfeld's last three ready-to-wear collections for Chanel as an uncynical celebration of French banality: the supermarché, the manifestation (does a single day pass without a demonstration?), and now, the brasserie. It wasn't exactly a love letter-Karl Lagerfeld is much too savvy for sentiment-but the Chanel collection he showed today was, he conceded, "a vision of France from a stranger who thinks France is not that bad." He's grown increasingly tired of the drip-drip-drip of cynical negativity, much of it from the French themselves.
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