PARIS — The climate change conference held in Paris late last year represented many things — a political breakthrough, the first real global agreement on the subject, a triumphant narrative for France after the tragedy of the November attacks — but for some in fashion it was also an inspiration.

Witness the Norwegian country house and garden that Karl Lagerfeldconstructed under the cavernous glass ceiling of the Grand Palais for his beguiling “eco-couture” Chanel show, all planed oak and green lawn — complete with tiny flies that swarmed over the runway — backed by blue sky. It was so verdant, Cara Delevingne’s 4-month-old puppy, which the model/actress brought along to her front-row seat, had to stop to pee on the grass.Photo

Cara Delevingne and her dog at the Chanel show. CreditLandon Nordeman for The New York Times

And while it is probably more eco-friendly to use what was once a chunk of forest for something longer lasting than a fashion show, a spokeswoman for Chanel said it would all be recycled after the collections, and composted, though she could not be more specific than that.Continue reading the main storySlide Show

The recycling was a good idea, though even better were the clothes on the runway.

Working with an elongated silhouette, either via blouson bouclé jackets shot through with metallic glints narrowing to midcalf skirts underneath, or squared-off tops over generous culottes and full skirts (for day), and chiffon-light gowns (for evening), Mr. Lagerfeld offered up a master class in the extraordinary abilities of the couture atelier. Using a palette of white, black and all shades of wood from the lightest ash to mahogany, he melded wood chips and beads and shavings with sparkling paillettes to create a new kind of ode to the natural world.Photo

At Chanel, wood tiles made a mosaic on a long vest, worn over a silver satin blouse and skinny tweed skirt. CreditFrancois Mori/Associated Press

Wood tiles made a mosaic on a long vest, worn over a silver satin blouse and skinny tweed skirt. Wood scallops were layered like feathers to form the hem of another sinuous underskirt topped by a sheer shell-pink tunic trimmed in the same scallops, which also formed a scrim over the shoulders. Tiny wood pearls belted the dropped waist and lined the cowl back of a nude chiffon cocktail dress. The shoes — spectator platform pumps — had cork soles.

There were nonwood garments, to be sure: a series of diamond-sprinkled evening pajamas and gowns paired with twinkling fairy capes (capes being something of a couture trend); a plain black sweep of empire-waisted chiffon; some floral lamés. They were lovely, but they didn’t make the point about beauty, and where you find it, in the same quietly powerful way.Photo

Mr. Lagerfeld and his Norwegian country house. CreditLandon Nordeman for The New York Times

As it happens, Mr. Lagerfeld was not the only designer thinking about the environment, however. For his part, Giambattista Valli found inspiration in gardens — specifically, the Parc de Bagatelle, the Jardin du Luxembourg and the Tuileries, all in Paris — creating a bouquet of 1960s shapes and 18th-century details, springtime blooms and crystal geometries.

Schoolgirl A-line day frocks in pure white jacquard and crepe dripped beaded mimosas from a shoulder; little lace dresses were sprinkled with violets and pansies; mink roses blossomed on a cream astrakhan coat; and organza or silk ruffles bristled from the shoulders and wafted gently from the waist.Continue reading the main storySlide Show

CreditGio Staiano/Nowfashion

Mr. Valli has a real thing for a ruffle, and though this urge can occasionally get out of control (see: his dresses in which stiff shirts of ruffles complete with bishop sleeves appeared under sleek pinafores, transforming the wearer into a sort of glamorous hedgehog), this season it was kept largely in check, limited to the statement detail and his now-signature finale of tulle red carpet gowns in titanic proportions. In between were clean-lined evening coats paved in floral paillettes, cape-backed silk crepe cocktail dresses and a series of misty organza Juliet dresses that exuded romance.Photo

One of the fur-trimmed coats in Bouchra Jarrar’s spring collection.CreditLandon Nordeman for The New York Times

Things took a more feral turn, however, at Bouchra Jarrar, where Le Smoking met military uniform met the Outback in perfectly tailored sapphire peacoats and biker jackets trimmed in gold braid, badger fur and pheasant feathers; white lace blouses with generous foulards; cowl-necked backless velvet halters and cloudlike skirts made from layers of silk organza; and liquid satin trousers, a naval stripe up the side.