Le Corbusier and Baroque decorative elements inspired Karl Lagerfeld's latest futuristic travel through the mazes of the past. The runway was minimalistic and white, glorified by a baroque fireplace (with digital flames) and a superb mirror (almost brutal in that exquisitely pure set) at each top end. Apparently, Mr. Lagerfeld is dreaming about those fireplaces on his own runway since he saw them at the master of modern architecture apartment. Corbusier's influence on this collection went beyond his house décor. In fact, Lagerfeld remasterd the architect's signature material, concrete, tranforming it in surprisingly light weight and remarkably chic beads.
It's common sense knowing there will always be a surprise effect at a Chanel show. No matter how, it's been happening for ages! This time, Haute Couture didn't getting younger by parading beautiful gowns on outstanding sneakers. Instead, it got younger on shorts and sandals and, more importantly, by the technique used to build the clothes. It could be couture, but there were almost no cuts and no seems. A lot of the clothes were molded in one piece, achieving absolutely out of the box shapes and textures.
The usual tweed was there, looking more modern than ever in structured coat dresses and messenger bags layered over easy shorts. The detailing was truly baroque. And those final white dresses, channeling the runway purity, worked just like fresh water cleansing all of the previous extravaganza... Well, but had their sins too. Those lavishing antique gold baroque embroideries. My, oh my!
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