Gardening Tulles

Karl Lagerfeld and Chanel constructed an idyllic French garden inside the Grand Palais, complete with a fountain, arched trellises, roses galore — and a bounty of dreamy dresses, like this tiered number, flecked with feathers.

The archetypal French garden — a perfect example of man and nature working in concert to create the exquisite. Meticulous planning, layout and construction provide the structure for nature’s wonders to flourish while tended to with care, passion and fastidious precision by expert craftspeople. A similar collaboration holds for haute couture. Nature bestows the extraordinary human talent and will — from designer through to everyone whose hands touch a garment en route to completion — while those thus blessed have the good sense and fortitude to perfect their gifts for creating beauty.

When Karl Lagerfeld conjured a show inside a traditional French garden (albeit, one installed inside the Grand Palais), he was probably thinking more narrowly, at least officially. Whatever his private thoughts on his work and legacy, Lagerfeld would never voice aspirations more grandiose than servicing his customer by making beautiful clothes. His job, he says, is to make dresses. He chose the garden setting for Chanel’s spring couture show because he was feeling for that French je ne sais quoi.

Along the way, Lagerfeld succumbed to the floral spell, and gloriously so. It started at the top; each model wore a short black veil that fell from a nosegay at the top of her head. The flower power continued through the palette dominated by mostly gentle pinks with occasional outbursts of vibrant color.

— Bridget Foley