A model for Christian Lacroix
© AFP Pierre Verdy

PARIS (AFP) - Swinging from 1960s tailoring to the Spanish Renaissance, Lacroix unfurled a rich autumn-winter 2006-07 haute couture collection of changing moods and styles but always sumptuous in colour, cut and detail.

"I see now the periods which since childhood have bothered me, everything that is dear to me," the French designer said just before his show opened at Paris' prestigious Fine Arts School.

He also highlighted what he termed a "hard to define" French style, somewhere "between seduction, charm, sensuality".

A model for Christian Lacroix
© AFP Pierre Verdy

But not only were the styles and references mixed up, Lacroix also mixed and matched textures and thick and fine fabrics, such as a green velvet jacket with delicate silvery sleeves over a puffed brocade skirt.

Dazzling tights embroidered on the calf in plum, tomato red and bright blue were coquettish under subdued or classic coloured-outfits, while a sweet bow, also in bold hues, accented the bust, back or neck.

With beautifully billowed sleeves, soft draping on dresses and tier upon tier of frothy frills, the intricate savoir-faire that goes into these garments drew warm applause from the crowd.

From their washed-out thigh-high tops, right down to the bejewelled high heels, Karl Lagerfeld's couture 'jeans' boots seemed to rebel against Chanel's sleek mini dresses.

A Karl Lagerfeld creation for Chanel
© AFP Francois Guillot

Even a sweet, capped-sleeved 'Little Black Dress' sprinkled with a modern version of Coco Chanel's camellias was teamed with high boots that looked like jeans -- as well as long denim gloves.

"The attitude is stronger like this," the veteran German designer said after Thursday's catwalk show, adding: "It would be too simple to put a pair of jeans under a dress."

Australian pop diva Kylie Minogue, recently returned to the celebrity party circuit after undergoing surgery for breast cancer, was among the star guests, along with her dog.

After opting to showcase last season's collection in the vast 19th century Grand Palais amply illuminated by its huge glass ceiling, the iconic fashion house this time turned to a kind of big top in a Paris forest.

Karl Lagerfeld(R) and one of his models
© AFP Francois Guillot

But the circus tent was immaculate white, bathed in light from the summer sun and almost blindingly bright, as models took to the circled runway around the edge, in front of an audience seated facing outwards.

At the end, it was the guests who were slowly spinned.

Layering was again key to the Chanel look. Lagerfeld kept his silhouette either starkly straight, clean and angular, or gently puffed, but always short for skirts, coats and dresses, whose sleeves were either cutely capped or cut to the elbow over long gloves.

"The high gloves are the boots of the arms," the pony-tailed designer quipped.

A Karl Lagerfeld creation for Chanel
© AFP Francois Guillot

A neat black coat with shiny trim embodied young modernity for practical day wear, while rich embroidery or colourful jewels punctuated the waist or shoulders on dressy short and long frocks.

For a 1960s bridal look, Lagerfeld edged a long-sleeved white tunic with tone-on-tone stones, over white boots to the high-thigh and a veil, in further thematic affirmation.

©AFP