Chanel Haute Couture Show | Redbrick | University of Birmingham

Chanel Haute Couture Show

Life&Style writer Alvia Zaidi looks back on and reviews Chanel's 2017 Haute Couture Show

Seeing double? In the mirror clad walls of the Grand Palais, Karl Lagerfeld debuted a calm haute couture spectacle. Back to the roots of Coco Chanel herself, Lagerfeld mimicked the art deco stairwell Coco had in place in her atelier. Certainly no chance to miss any detail.

Continuing with the Coco inspo, Karl reinvented the original Chanel suits with an 80s twist and candy colours. Arizona Muse opened the show wearing a muted green tweed suit, cinched at the waist with a statement silver belt. Thick statement belts were then seen on every outfit from daywear to evening gowns. Sister suits followed the collection with colours ranging from pale blue to lilac. Complemented by matching hats, each silhouette was kept very traditional - a calf length blazer being the most outrageous change. A quick change to wistful music and the collections continue.

Necklines are either high or plunging  - I suppose there is no in-between. Karl says, we do. Following the suits, cocktail dresses were sent out and a “high neck, high hem” theme was evident whilst evening gowns went in reverse with plunging v-necklines and feathers gathering at the feet.

Accessories were kept to a minimum and beauty was at a doll-like simplicity
The river of soft, delicate pieces was interrupted by yet another change in music. French electro music introduced the most eclectic pieces of the show - shimmering blue and purple evening gowns. However, we were only honoured with two. The show swiftly returned to the fairy chain of elegance, featuring 50s style dresses with graceful shawls of lace and sheer.

Lagerfeld was not shy with material, showcases of tweed, satin, suede and sequins - all within a pastel theme complimented by glitter - embodied the show.

Accessories were kept to a minimum and beauty was at a doll-like simplicity. All models had gelled down hair, parted to the side and pinned in a scalp-hugging swirl. Makeup was left to a flawless face and rosy lips. Iridescent glitter matching majority of the outfits and keeping to the space feel was blended onto cheekbones and up to the brow bone. Few models had the same glitter used on their nose and inner eye corners. The monotony highlighted by each model wearing a pair of mirrored courts complimented the decor and provided a rhythm to the show. A single pearl anklet fasted on the left ankle of each model. Shoes reflected off the mirrored floors as though the models were a floating parade.

Attention to detail did not stop there. Whilst every evening gown showcased floor length intricacy, a featured piece worn by Mariana Beltrame showed a glimpse of sheer trousers. Made using black sheer and embellished with jewels, it definitely highlighted the precision of Chanel’s ateliers.

Goodbye Cara! Lily-Rose Depp closed the show with Karl’s masterpiece for 2017. Lily held the position as Chanel’s bride with a pale pink, heavily ruffled dress. Beginning with a bib collar and falling as a drop-waist, the dress even included the statement belt as seen before. Organza ruffles coated her arms, reaching her elbow, and continued even as far as the train to create rippling waves as Depp walked.

Karl took to the stage to introduce the parade of all looks and yet again Chanel epitomised Parisienne class. In the words of Vanessa Parads - or ‘mother of the bride’ - “c’etait divine'.

Article by Alvia Zaidi.


15th February 2017 at 2:14 pm

Images from

Dipple and Conway