AP/AFP – The collection delivered many familiar elements from Chanel’s vast repertoire – chiffon capes, slit skirts, embroidered transparent shirt dresses, trench coats adorned with multicoloured feather prints, aviator jackets with Peter Pan collars, total pink or blue tweed looks, and the iconic little black dress that Chanel herself introduced to the world. Tweed, jersey, faille, transparent embroidery, sequins, fringe, pastel knits, and sparkling platform shoes all made an appearance, forming a showcase of the house’s signatures.
Yet despite the breadth and richness of the offering, something was amiss. There was little cohesion, and at times, the collection lacked the unmistakable soul that once characterised Chanel’s shows. A series of foulard-printed gowns seemed out of place – as if borrowed clumsily from another narrative altogether.
With a snip of scissors, Gabrielle ‘Coco’ Chanel freed women from their corsets. Today, Chanel itself needs liberation. The applause at the end of the show, which featured designs that often felt uninspired, was distinctly muted, with critics visibly shifting in their seats.
