I want my Chanel FLOWER cap

Oh hi. Too much?

Karl Lagerfeld ensures the future of modern haute couture (despite apocalypticly crotchety ruminations on its demise) with yet another excellent collection for Chanel that chooses key wardrobe elements and proceeds to deconstruct them in a highly logical and beautiful way. This season, Karl chose: the slim pant, black and white, flowers (not florals) and cap sleeves. All of which he applied his trademark sense of exotic futurism and the traditional Chanel quality and construction.

Some of the dresses carried over onto great white skinny trousers that grazed above the ankle. Karl loves a trend but isn't afraid to ruffle it up a bit.

The ivory and whites looked great because the fabric Karl likened to thin paper, and to emulate this effect of transparency and fragility he added girl-like cap sleeves. The darling effect worked with the light hats, which made the girls float down the runway.

Also this idea of rectangular shapes that has been reappearing (think Ferré) also turned up Chez Chanel. Jackets with rounded collars stopped short above the waist in sharp lines.

The black experiments looked great because of the shines and matte, plus with all the goth darkness we've been seeing it was nice to see the delicacy of this embroidery and millinery.

These dresses were pretty with all the emphasis on the waist. They were cocktail dresses, and red-carpet gowns in brave black-and-whites.

I think it was a collection Jacqueline Lee Bouvier Kennedy Onassis would love. Keeping it classic but front-page worthy are both Chanel and Jackie O traditions.

And finally, back to the hats because they're amazing. Designed by a Japanese hair-guy named Kamo, they hearkened to the last Fendi collection, but don't let that distract you from the best accessory of all: a drag face.