Karl Lagerfeld is a worldly man, and he doesn’t need cornea-burning Indian embroideries or reassuring prints of Renaissance paintings to prove it. But apparently he does need a stage design consisting of a massive spinning globe in the center of the Grand Palais (as always) with sparkling dots marking all Chanel outlets—which look to be in the hundreds. The symbolism was rock-solid. Perhaps no other brand operates on the same scale as this. One thing is certain: the sun never sets on the Chanel empire.

While the clothes didn’t veer greatly from the brand’s trusted tropes, they confirmed Chanel’s jetset status. The chic modernity of these tweeds, bouclés, and florets in a predominantly black-and-white palette, resembling a night sky, were light years away from Lagerfeld’s Scottish romp just months ago, as minimal as a Chanel girl can possibly be. Bags were orbs on a chain and boots were decked out in rockstar studs and still more chains (and wouldn’t have looked out of place on a certain designer’s own feet).

And if anyone was still confused about Chanel’s place in the world, the models wore brightly colored fur wigs that Lagerfeld said were based on Anna Wintour’s signature bob. It’s enough to wonder who’s orbiting who.

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