From Paris, Revolution and Roses

From Paris Revolution and Roses
The Grand Palais was built for expositions - many Parisians in the last century saw their first airplane there - and since its reopening last fall Karl Lagerfeld has used it to display Chanel's new clothes and, of course, himself.

Last October he had a giant video screen erected, with his image blown up like Kong.

For his spring haute couture show on Tuesday he put up what looked like a missile silo.

At the end of the show, the tube lifted toward the glass ceiling, revealing the models on a spiral staircase.

It's easy to snicker at Mr. Lagerfeld.

He is 70-something, he speaks brutally fast, and he has an eccentric collection of jewelry.

The other day he had on a porcelain carnation made for Madame de Pompadour and retouched with gold by Jean Schlumberger.

"He was kind of gifted, Schlumberger," Mr. Lagerfeld said, squinting behind his dark glasses and breaking into a huge grin.

But - from Madame de Pompadour's breast to Karl Lagerfeld's lapel - that is the arc of couture's incredible comet.

If you are gifted like Mr. Lagerfeld, or like John Galliano at Dior, you don't have to ask whether couture is dead.

It's relevant if you can make the meaningful connections between the past and present.

On Monday, Mr. Galliano sent out a provocative collection with allusions - in the rough work boots and red-