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Chanel’s Fall Couture Was Pure Parisian With A Kick

The very best moments and details from Fall Couture 2017 show, as seen through our eyes.

Chanel likes to hint at the theme of an upcoming show on their invitation cards. For this couture season – our very first one at that – it was a painting of the Eiffel Tower with the hashtag #ChanelTower printed on the inside. Was Chanel actually going to erect the Eiffel Tower in their show space? The prospect of a life-sized Eiffel Tower inside the Grand Palais sounds impossible, but nothing is too impossible for Chanel when it comes to show sets. I mean, they brought in a giant space rocket, smoke, flashing lights and all, just a couple of months ago. A tower is nothing.

Still, the Chanel Tower left us wide-eyed and slack-jawed the moment we entered the Grand Palais. It wasn’t life-sized – it would have smashed through the palace’s glass roof if it was – it was still pretty darn magnificent. With the sand floor, little green Parisian park chairs and summer sun shining through, we almost forgot that we weren’t at the Champ de Mars.

The clothes were a reimagining of what Chanel calls the “revived Parisian woman”, post-berets and post-baguettes under the arm. Jackets and coats were impeccably bold and graphic from the get-go, yet managed with a kind of androgyny and timelessness that are distinctly Chanel. The house may want to consider turning those little hats into ready-to-wear, because they’re guaranteed to fly off the shelves.

As the show progressed and the music started to build – a hair-raising mix of melancholic strings, electric beats and feel-good whistling at one point – so did the silhouettes. Here come the dresses! Here come the dresses! Some were streamlined, angular and glistening, surely tributes to the Eiffel Tower in the night time. Others were visions in black, sometimes hugging and flaring at all the right places, sometimes with big, exaggerated skirts that revealed glossy thigh-high boots. (These, too, need to go into ready-to-wear.) The strapless number on Mariacarla Boscono even had a built-in pearl necklace that swished and swayed with every step, so much so that she had to manually hold them down.

Skirts got bigger, but none quite as big as the one on the Chanel bride. All conversations between men and women ceased as she made her through the legs of the Chanel Tower in pristine white satin embellished with bouquets of feathers, her veil trailing behind her through the sand. She’s every bit the blushing bride, but take a closer look and you’ll spot patent black boots fighting their way through with every step. Dainty, but with plenty of kick.

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