Chanel is pulling up to the station. This was Virginie Viard’s debut. We missed Karl, we will always miss Karl but his spirit is and always be will so very much engrained in the Double C’s that were stamped on knits and chained belted mini handbags in blazes of hot pink. It was fun. The Chanel girl was going off on her travels because this is a Cruise collection and what’s it for if not to cruise through life in? The Grand Palais, the House’s “home” was transformed into an early twentieth century train station. Wherever they were going the girls looked good. Big billowing bows were tied to the chest and daintier, present-wrapped bows linked belts, cinching the waist on what we are calling the resort-style suit. A businesswoman’s work never stops. She fly. A little 2000s action was kicking in those bubblegum pop pink backpacks and pointed toe pumps. Of course Chanel tweed was worked into smart dresses, shin-length jumpsuits and long coats. All hyped up for the Chanel girl today with branded fingerless (classic Karl) gloves and royal purple suede cross body quilted handbags. Oh the handbags. They were so good. Soft and small, chunky and buff and let’s make note of Marjan Jonkman in the fire engine red, gold layered necklaces and signal lamp handbag by her side. She has our attention. There was so much, as is always the way with the Chanel show. It felt light, easy, the kind of clothes that will do their job, taking the Chanel woman around the world to make s**t happen. Halter-necked tiered free-flowing dresses fell to the floor so elegantly, right for the night and mini skirts were extra-short and sweet. And that final look: Wednesday Addams white collared black dress that slithered down her body with big pockets and glinting gold chain detail. We told you she meant business. Girl looks good waiting for the train. It was the beginning of her new journey, a nod to Karl of course and a sweet significant sign of the start of Virginie Viard’s reign.
by Roxy Lola