Dries Van Noten
There is no doubt that Dries Van Noten is an industry favourite; his is clever fashion for intelligent ladies. The hit formula comes from combining things you wouldn’t expect like the most glorious dressing-up box. Models wore school ties, aran knits and college blazers with velvet boots and lashings of leopard print. In Van Noten’s hands nothing looks naff — even the green zebra-print slip dress — and much of it was dazzlingly illusory.
Pandora Sykes
Balmain
We can’t pretend you’ll be able to afford one of his dresses (or, in this show, a skintight, shoulder-padded, baby-blue jacquard suit), or, indeed, have anywhere to wear it if you could, but Olivier Rousteing does provide a glorious, glittering mirage. His clothes are unapologetically va-va-voom, high-octane armour. In their suede thigh boots and mega-cinched belts, the Balmain army aren’t a flock of dolly birds — they are successful, rich, powerful. Much like Rousteing himself. PS
Chloe
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You may think you know the Chloé girl, with her rainbow-hued, floaty ruffles and knits, but for AW16, she has a few other things going on. This collection was inspired by 1970s motorcycle girls, with leather toughening up the lace blouses and even, on occasion, worn double. Gigantic colourful ponchos also lent a different vibe. The bags were cross-body and the boots, cut high and fitted on the calf, were standout. PS
Carven
The Carven silhouette is a consistent one: fitted knits and A‑line miniskirts. This season the Carven girl arrived via the disco for some 1980s glam. She also had a crochet poncho slung over it all and chunky boots with 6in heels, which weren’t, perhaps, the comfiest, but gave a sci-fi Bambi effect. You can always count on Carven for some things, though, and a great pair of ankle-length trousers is one — your bum will look marvellous. PS
Issey Miyake
Issey Miyake’s innovative pleated clothes found favour in the 1980s, and the label has never lost its cool. The old customers happily shop alongside the young, perhaps because the brand has an experimental spirit as much as an aesthetic. The clothes bounced with a multicoloured youthful energy, but there was plenty for the Miyake doyennes. Coats, quilted or in swirling optical pleats, swathed the models, looking organic but not of this planet.
Claudia Croft
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Dior
Dior is in a holding pattern, waiting for a new star designer, but for the moment the studio heads Lucie Meier and Serge Ruffieux are in charge. The collection featured curvy coats with nipped-in waists, couture embroidery on daytime skirts and flounce-edged cocktail wear. Some of it looked modern (a dreamy, creamy off-the-shoulder coat), some of it didn’t (the floral skirt suits screamed mother of the bride). In the end it didn’t shout loud enough. CC
Lanvin
Lanvin has been without a head designer since Alber Elbaz departed last October, and this collection was put together by a team headed by Chemena Kamali and Lucio Finale. If you like 1980s pomp, then this is still your house: peplums, ice-blue tailoring, brocade cropped jackets, puff-sleeved blouses and diamanté — all to a Bette Davis Eyes soundtrack. However, neither designer came out at the end, suggesting a new name is coming soon. PS
Rick Owens
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One of fashion’s great iconoclasts, Owens pursues his singular aesthetic in inventive ways — remember the show when models wore each other like human backpacks? The theme this season was extreme wrapping, as Owens swathed his models in swags of fabric. Some outfits — the oversized trousers and lean tunics — looked incredibly elegant, while others were almost primal. It’s all catnip to Owens’s loyal following, who like their fashion served with a twist of the strange. PS
Loewe
As a stop-smoking meditation tape played, the new cool woman’s wardrobe walked by. Hanky-hemmed midis, leather bustiers, little kitten bags worn like necklaces (which are on sale now), crochet tube dresses, roomy khaki macs and backless block-heeled silver loafers. All the silhouettes were soft and feminine. At Loewe — unlike his own, more cerebral line — JW Anderson’s vision revolves around easy, confident, touchable pieces, and it has great appeal. The want factor is high. CC
Vetements
A cathedral was the perfect setting for the Vetements show — the brand is worshipped like a cult in fashion. Out came the models wearing a disassembled version of a school uniform: minikilts, oversized shirts, over-the-knee socks and trailing ties. It was a rebel uniform. One hoodie bore the slogan: “May the bridges I burn light the way”, which sums up Vetements’ convention-busting approach. It was fast, furious and fashion with a capital F. PS