An air of surrealism enveloped Chanel’s Spring Couture show Tuesday as celebrity guests including Naomi Campbell and Kendrick Lamar faced a navigational challenge: walking past a towering pair of open metal scissors. That symbolic gateway set the stage for a theater-in-the-round showcase in Paris.

The show’s spotlight was on a lowly yet groundbreaking fashion element: the button. The motif featured in a short film with Naomi Campbell and as a giant sculpture descending from the ceiling, a feat of fashion theatrics provoking gasps of delight from camera-wielding guests — and a nod of approval from the equally spectacular movie director Baz Luhrmann.

Here are some highlights of Tuesday’s spring couture shows:

BUTTONS AND BALLET

The button is a humble icon, but it was not always so. Gabrielle “Coco” Chanel was credited with revolutionizing fashion with the women’s suit, and the button on its front was vital, so the house says, to help women “rid themselves of everything that had prevented them from moving freely.”

In Tuesday’s frothy and sparkling couture display, showcased beneath the lofty ceilings of the Grand Palais Ephemere, creative director Virginie Viard used the button as a jewel. It infused a collection that celebrated the freedom of movement in the world of ballet and dance.

Viard used the button-jewels as a spice for the drama of the ballet stage, scattering them across contrasting and often segmented silhouettes. A striking tulle ruff neck adornment opened the show, paving the way for pieces like an A-line black mini dress that captured the essence of a ballerina silhouette. The collection’s layering over ballet leotards and tights elegantly glided down the runway.

The house was keenly aware of its history: 2024 marks a century since Coco Chanel first ventured into ballet design. This collection’s pink and white aquarelle palette evoked the vibrant style of the Ballets Russes as envisioned by Léon Bakst and Sergei Diaghilev.

“Dance, it’s an essential theme at Chanel. We are closely linked with its institutions, choreographers and dancers, and we often create costumes for the ballet,” Viard said.

The gowns echoed the tight bodices and billowing tulle skirts characteristic of the Ballets Russes. The collection also featured transparent short straight skirts, long dresses and jumpsuits, all with intricate embroideries depicting draperies, little bows, illusion tulle pockets and lace belts, further weaving the ballet theme into the fabric of each garment.

Still, Viard’s collections continue to lack the sense of cohesion — the dominance of one overarching aesthetic in each season — that was closely associated with her predecessor Karl Lagerfeld, who died in 2019.

CHANEL’S CINEMATIC ODE

In a dazzling prelude, a fashion film starring Margaret Qualley, the actress and daughter of Andie MacDowell, illuminated the runway’s curtained walls with a whimsical narrative directed by Dave Free. The plot, at times reminiscent of Barbra Streisand’s iconic turn in “Funny Girl,” recounts a tragicomic tale of a beautiful young woman on a desperate quest for a missing button — a journey that leads her to Paris.

Naomi Campbell appears as a serendipitous savior, providing Qualley with a ticket to the fashion capital. The climax unfolds on the famed Rue Cambon, where Qualley meets a modern-day Coco Chanel portrayed by the enigmatic Anna Mouglalis. Mouglalis, with her instantly recognizable baritone, is no stranger to the role, having previously brought the legendary designer to life on screen.

The cinematic adventure set the stage for the real spectacle. As the film concluded, Qualley seamlessly transitioned from screen to stage, opening the couture show.

By THOMAS ADAMSON AP Fashion Writer

PARIS (AP)