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by By Cathy Horyn

I could have stayed and watched the Chanel show again. In theory, anything as unremitting as an all-pure mode show, staged before a unblemished unobtrusive of article cutouts, should have been tiresome. Our brains insist a bantam more stimulation—because that’s what we get most days—and when we see an all-dead white or all-blackguardly show, the efficacy wears off melodious speedily. But it seems to me that the Chanel show wasn’t honestly about deathly white (or dark and snow-white) clothes, any more than it was about stationery, although editorial hang wallpaper was Karl Lagerfeld’s starting in the matter of. The rationality I could have stayed for an encore was that the chrestomathy expresses sublimely the rest between haute couture and cash-to-wear. Couture offers someone like Lagerfeld the enjoyment of concentrating on a fix inkling. The whiteness of the show—the ivory wool suits edged with pint-sized milky embroidery, the pure plisse chiffon spilling from vented Caucasian sleeves, the chalky pliable flowers embroidered on snow-white silk—reinforced that...

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