Who knows how the creative process is fired? But this Chanel show glowed with imagination: here a dress with burning red threads woven through; there a silvered gown, as if grey ash were being fanned back to life. Those ash colours were in every shade from concrete to metallic, with evening outfits dense with decoration.
The most compelling examples of couture workmanship were the oval, egg-like shapes, reinforced by the finale of a wedding dress worn gracefully by a seven-months-pregnant model bride.
Karl got so much right in this collection: a sense that it is time to douse the fiery fashion shows, leaving the warm glow of haute couture for a smaller audience to appreciate. He focused on extreme craftsmanship, without showing outré or extravagant outfits. Even the light, thigh-length shorts, peeping out from short skirt hems, seemed appropriate.
These latter day Cinder-ellas looked fresh, young and lovely - and offered to the couture audience fashion modernism for the 21st century that was still very Coco Chanel.
Handbags slung across the body, cut on a curve and densely decorated, were another cool take on Coco.
But who - except Karl, with his deep knowledge of history and fashion - would have thought that Baroque style could fire up such modernity?
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