I loved most pieces from yesterday’s Chanel’s 2010 Couture collection. Here are my favorites (photos from Style.com):

Comfy business attire

How can I get this dress made for me?  I love how it looks like they took an oversized dress with big shoulders fitted to this model.

I love black crepe/black translucent.

Zig zags in some of my favorite shades.

Half sleeve, but shoulderless.

Boots and jewelry, all so fantastic!

Wonderful Chanel suits. They look comfortable and elegant. Long shorts instead of the traditional skirt.

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They look great on the models, not sure how they look on regular people–probably not as good.

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They come in many different colors/materials and varieties of jacket styles and collars.

In the midst of shorts, a skirt paired with a matching jacket:

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This look stands out since it’s dark salmon, almost red. Karl’s latest designs are all in pastels and varying shades of silver.

Light pinks and violets. Here is a beautiful floral lace jacket.

I was not impressed with the rest of the collection. Seemed more like filler. Although the overarching theme seemed eggy:

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Maybe I’m not used to the silhouette yet.

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Seemed like an Easter egg hunt especially since everything was pastel.

The other gowns reminded me of Faberge eggs. Not because they were egg shaped, but they had decadent over-luxurious decals that seemed to weigh the entire look down.

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The soft and light satin cloth was heavily weighed down by the metallic decor. There was not a balance, the hard metallic seemed heavier next to the light and flowy satin.

Greco roman draping was found in nearly every collection this year.

Although much of it reminded me of Ralph Lauren’s traditional equestrian style, John Galliano’s spring couture collection was bright, bold, and a bit elvira-esque.  An exaggerated and eye popping display of victorian era women’s wear and voluminous ball gowns.

Many of the jackets were signature New Look.

Like the neckline of look 14 below:

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Sparkly and frilly and thin–much more modern version of the traditional Dior jacket.

The couture had influences from many different decades. The second half of the show featured decadent ball gowns–enormous skirts, and sculpted taffeta.

Here’s one that seems to have a 50′s-60′s house wife like bodice attached to layers of taffeta and tulle:

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Sculpted art deco top attached to an overflowing top skirt layer that reveals a more fitted skirt beneath:

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You get an outline of what would be a big voluminous skirt–even without the actual structure, these dresses are taking volumes with their colors and silhouettes.

The background tones down the dramatic styles but maintains the theme of overbearing decadence.