Karl Lagerfeld turned Paris's Grand Palais into a decrepit, smoke-blackened theatre for today's show but, when the curtain opened, his autumn 2013 Chanel couture collection appeared to be a vision of the future. The backdrop to the stage was a Jetsons-style future metropolis, a film referenced in the shownotes, and the clothes themselves were just as retro-futurist in flavour.

There was tweed, of course, and bouclé, but fashioned into deliberately boxy and slightly outsized tailored pieces. These gave the illusion of 1980s styling, which – when mixed with the drapes of tulle attached to back of many pieces, the shimmering metallic paillettes, and the jaunitly tipped back, latterday cowboy hats which the models also wore – felt like a suitable reference for this post-apocalyptic vision of sartorial society.

That decade was full of predictions as to what would happen in the future, and assumed technological advances. What was almost poignant about the 1980s vision of times to come was that it was all so rooted in the contemporary – from Blade Runner's pseudo-Oriental urban squalor to Blake's 7 accidental Americana-tinged sets.

This was the future Lagerfeld worked from, a prediction that hasn't quite rung true and exists in a different dimension. Luckily for him, the 1980s were a decade during which he was just as proficient and prolific as he is now.