Where do we even begin this Chanel review? We could talk about the Champagne, the croissants, the real-life waiters that served real-life food at the real-life brasserie that the brand built inside the Grand Palais. Or, as we're wont to do, we can focus on the clothes and styling. Which, let's be honest, is what we'd discuss if we saw these gorgeously clad women dining at such a restaurant in real-life either way. (We're getting it now: This is art imitating life, right?)
The clothes were, like the brasserie itself, classically French and classically Chanel, yet with a modern twist that would pique the interest of diners-by. Jacquard jackets got voluminous sleeves and LBDs became sheer and hung at the knee. But, it was a handful of head-to-toe looks that stuck out most when we walked around the room snapping pictures after the runway show. Wait a second, we thought, are these girls meant to look like Karl Lagerfeld, himself?
Of course black-and-white suiting pieces are signatures of the double Cs, but the styling was all too reminiscent of a certain riding-gloved someone who took a bow at the end of the show. The darkened hair, darkened eyebrows, and structured cuts on Cara Delevingne's first look (and the nine or so others that followed) made us think of Lagerfeld designing the collection in his own image: as he was when he was populating the very cafes that inspired this spectacle in the first place. Except this time, he may or may not be wearing an A-lined pencil skirt and slingbacks.
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