CHANEL進(jìn)入到用外套大衣裙與套裙為主的季節(jié)，他在本季帶來(lái)了時(shí)尚嚴(yán)肅的時(shí)髦的譯本。如果說(shuō)CHANEL 09年春夏高級(jí)定制系列是用白色來(lái)歌頌“謙遜新時(shí)代”的開(kāi)始，那么09 秋冬成衣系列則采用了完全相反的設(shè)計(jì)概念，賦予黑色所有的榮耀，贊頌各式的黑色。

隨著款款新裝魚(yú)貫而出，我們看到悉數(shù)亮相的黑以輕盈的白帶來(lái)鮮活的對(duì)比，可拆卸的衣領(lǐng)和袖口設(shè)計(jì)、精致的服飾珠寶、抽須、褶皺裝飾的雪紡，裝飾在波浪狀的塔夫綢、縫飾有花朵的薄紗和如羽毛般輕柔的開(kāi)司米之上。不時(shí)以淺綠色與粉紅色點(diǎn)綴閃現(xiàn)其中。 設(shè)計(jì)合身而輪廓鮮明，衣服上的開(kāi)縫與壓明線塑造出富有生機(jī)的廓形，系列中包括經(jīng)典斜紋軟呢外套、低腰連衣裙、褲腳外翻的男式寬版長(zhǎng)褲、幻象套裝，用盡最好的面料：暗色斜紋軟呢或“紙”、浮雕花紋彈性面料、羊毛、皮革絲緞、縐綢、針織蕾絲……

設(shè)計(jì)師定義本次的設(shè)計(jì)為“都會(huì)摩登雅致”，它或許不是CHANEL最有趣的一次表演，但卻是在其經(jīng)典精髓下稍顯嚴(yán)肅正式的一次展示。

In a season when coat-dresses and skirtsuits have risen to somewhere near the top of the item charts, Chanel presented a series of fashion's most poised and charming versions. That formula transmitted some of the loveliness of Karl Lagerfeld's sublime origami-paper Spring Couture collection into super-feminine white collar and cuff treatments—frothy plissé ruffs, chiffon camellias, and French maid frills encircled the neck or sleeves on soft, fitted black silhouettes. Cleverly, today's outing also achieved a rare balance between being grown-up and youthful—a note set by the casting of Karen Elson to open the show. Here was a fabulous-looking 30-year-old woman, rather than some anonymous waif.

Lagerfeld tagged the collection "Belle Brummell," a gender-reassigned quip referring to the British Regency dandy who dictated men's fashion by tying his cravats in ever more elaborate configurations. The pun also gave full permission to bring the classic Chanel white georgette blouse into play, a perfect device for subtracting the austerity from black in a distinctly Rue Cambon manner. Lagerfeld worked it every which way, in bouclé, lace, knit, satin, and paillettes, while also making a witty swerve in the direction of the season's motorcycle leathers (interpreted here in slim drop-waist dresses) and puffer jackets.

What color there was turned up in brief passages of pale green or baby pink. Admittedly, that green wasn't the most felicitous shade in the palette for clothing, but it was really there to underline the presence of the jade Deco-style pendants and neckpieces—a further echo of which could be found in the jade rings implanted in several pairs of heels. All in all, though, this wasn't one of Chanel's more playful simultaneous broadcasts to the world—more a serious reinforcement of the brand's eternal attractions.

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