The silhouette was dominated by an A-line or a bolero. Lagerfeld loved the skirt dress—pulled up in a bustier style—as opposed to the shirtdress. (In chambray, it said all you need to know about the ever-younger spirit of Karl’s Chanel, with its supporting cast of new muses.) The graphic quality felt new, in keeping with the stripey shirt and tie the designer himself wore. He claimed his three-dimensional cutouts in chiffon dresses were designed to introduce airiness to volume. “Normally they don’t go together,” Lagerfeld offered. Maybe it was that desire for lightness—in what has been an often dark season—that also saw him shelve the braid, the buttons, and the chains in favor of a liberal scattering of pearls.
“Energy is the most important thing in life” were Lagerfeld’s words from the wise. “The rest comes later.”
