ELLE (Canada) - - Story Board - By Christina Reynolds

Chanel takes on the Wild West.

arl Lager­feld holds court be­side the me­chan­i­cal bull, while It mod­els Lind­sey Wix­son and Poppy Delev­ingne queue for a ride. Over by the barn, cou­ture-clad women line dance to “Neon Moon,” fall­ing over them­selves and laugh­ing in be­tween co­or­di­nated kicks. I’m in Dal­las for the pre­sen­ta­tion of Chanel’s 2013/2014 Métiers d’Art collection, and the cool kids have of­fi­cially taken over the city.

Re­ally, we’ve been go­ing for hours. The fes­tiv­i­ties kicked off at a replica drive-in, com­plete with 74 vin­tage con­vert­ibles, where Alexa Chung and Zoë Kravitz munched on ket­tle corn dur­ing

The Re­turn, a short film by Lager­feld about Coco Chanel’s come­back collection, in 1954, af­ter a 15-year post-Sec­ond World War hia­tus. The French turned up their noses at Chanel’s clas­sic sep­a­rates, but the looks were a huge suc­cess in Amer­ica, par­tic­u­larly Texas. Soon af­ter­ward, Chanel vis­ited Dal­las.

The Texan city in­spired this year’s Métiers d’Art show—a peren­nial high­light on the chic set’s cal­en­dar that takes place be­tween Chanel’s ready-to-wear and cou­ture shows and is sparked by a des­ti­na­tion close to the house’s heart. Lager­feld trans­lated the spirit of Dal­las into a Wild West sar­to­rial ex­trav­a­ganza: Texas-star-em­bel­lished gowns,

trompe l’oeil cow­boy-boot tights, fringed leather skirts and, of course, stud­ded Chanel jack­ets. “It’s the idea of the old Texas, even be­fore the Civil War,” ex­plained Lager­feld, post-show. “They’re not typ­i­cal cow­boys— they’re very so­phis­ti­cated.” h

As Chanel takes on the WILD WEST, Christina Reynolds hangs with cow­boys and cool girls.

Good-time group: In­sta­grams from the chic set

Dou­ble K: Kris­ten Ste­wart, the face of the Métiers d’Art collection, with Lager­feld

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