Lagerfeld has never claimed an interest in realism or authenticity, neatly placing himself beyond criticism of his often literal — and on occasion downright costume-y — interpretations. Aside from the mandatory boxy tweed suits and day dresses, the collection’s Greek influences manifested pretty much as one would imagine.
Draped and pleated silhouettes came in fluid jerseys or linen, and were cinched at the waist; knits bore beige and terracotta wave designs resembling those on ancient amphorae and frescoes. Raw fringe hems gave delicate embroidery a rustic, pre-industrial touch, and models, of course, stomped around in strappy sandals and Olympic laurels.
There was room aplenty within the 85 exits for goddess and shepherdess to coexist, a clever expression of the push-and-pull between Coco Chanel’s easy approach to dressing and the unmatched skill of Chanel’s ateliers.