The finale at the Elie Saab A/W 2010-2011 show at Paris Fashion Week. Photography: Alize Morand.

There was something about the Elie Saab show. Something I felt, that was different. It was not the excitement and the frenzy of the fashion weeks. It was more the serene emotion of couture. The calm confidence of knowing that everything fits together and that the end result is simply the purest form of elegance.

I watched the models strutting on the runway, slender and determined, first all in black crepe and chiffon, then in pale drapes of taupe, gray and burgundy, and finally in a climax of sequined evening gowns.

All was beautiful, in gorgeous fabrics and delicate shades, but it was more a feeling than an objective appreciation of the fashion, or the trends. Trends which weren’t really because Elie Saab does not dress women like Celine or even Alaïa do, he dresses the red-carpet, and some Very Important – and Lucky – Girls. Not that everyone wears Celine, but women this month will strive to achieve the chic sobriety that the house has made trend – and will find an adapted-for-the-street Zara version.

This is what trends are all about. And this was not what Elie Saab was all about. Because the spirit of the show was: Haute.

The powerful editor-in-chief, although not in sight, was the inspiration for the Shiatzy Chen collection, shown at the Beaux Arts at Paris Fashion Week last Tuesday. All the girls wore her famous bob and tinted glasses, along with some feminine but strict dresses, very working girl, with even a ‘first lady’ feel. Interesting how hair and make-up give the tone to the whole show sometimes.

On the runway, those girls, albeit different from the usual Russian casting, with more Black and Asian models, some even shorter than usual, looked like clones from a Sci-Fi film to me, all too prim and serious. It’s good to see that fashion gets realistic sometimes, with clothes to be worn in real life at work, but where is all the fun?

References also evoke different things to different people, and different generations. I idealise the 60’s I never saw, and snub the 90’s of my teenage times. This collection to me was very now, very modern. But also very American with its commercial fitted cuts, knee-length dresses, capris, prints and brights (Anna? Michelle?).

Not surprising when you know that Shiatzy Chen, rather unknown in Europe, is a Taiwanese commercial empire, set in 1978, that even includes a chain of branded upscale tearooms, where ‘customers show up for pricey afternoon tea meals’.

More the woman CEO type than the fashionista type. And throw in some Asian references, and this is all but Parisian. Showing at Paris Fashion Week makes it more than a risky fashion faux-pas. Would that be where the real risk-taking of this collection lied?

Photography: A look from Shiatzy Chen A/W 2010/ 11 Collection at Paris Fashion Week. By Alize Morand.

Sometimes fashion should be fabulousness, and that’s just all the Jenny Packham show was.

I went there straight after the Burberry Show, with all its oh-so-coveted shearling jackets and ruched dresses, in which I could see myself lounging all winter long. And to be honest, I could not see myself wearing most of these Jenny Packham dresses – lounging even less so. Yet there was something about it that was slightly unreal, more like a dream, like a red-carpet – yet so close to me.

I knew about the designer more for her fabulous wedding dresses than anything else. Of course there are also the evening gowns worn by celebrities on the red-carpet. But I didn’t think of that designer as ready-to-wear. Attending the show confirmed this opinion more than ever. Jenny Packham does not design ready-to-wear.

But whilst there was maybe only two cocktail dresses I could have approached in a shop and maybe decided to try on, this was not necessarily an issue. The collection was unapologetically flamboyant, with long evening gowns in gorgeous printed silks, sequins, embellished, with jewellery and accessories, on elegant ladies with buns and bright red lipstick. The choice of styling was dubious though – pairing the dresses with silver pailletté tights, for a perhaps edgier but overall heavier and cheaper effect.

I liked the fact that although this collection was commercial in a way – the red-carpet clientele will be back for another season – it was also trend-less somehow. Or at least not following the mainstream fashion weeks trends, which makes it a refreshing take on fashion, when you have seen the same gothico-futuristic-minidresses and camel-coats-meets-pencil-skirt looks all day/ week/ month.

This collection was by no means a favourite of mine and I am still more inclined towards her bridal suggestions, but it made me think about the role of fashion to not be realistic or innovative at all costs. Just to be beautiful sometimes, candy for the eyes.

I cannot recall how many prints I have seen so far this season. If New York was fur-clad, London was invaded with prints, more than ever. I believe I quite know how to recognise most designers’ signature styles, but this season, to be fair, I don’t think I would have been able to distinguish between a printed mini-dress from Basso & Brooke, Peter Pilotto, Matthew Williamson, or Mary Katrantzou. Not to mention past seasons. They were literally everywhere.

With more diverse style but still obsessed, you also have Missoni, Erdem, Thakoon, Ashish, Manish Arora, Givenchy, Cacharel. I guess there’s a difference between houses for which prints is the core of the matter, and those who rock the current trend, but for which it is just a trend. And then there are so many types of prints, from liberty to retro, from flowers to ethnic. But we are talking the current trend here. You know the one I am talking about.

Now what surprises me, is that for a black & white/ Chanel/ LBD girl, I am starting to enjoy them. Yes, even the futuristico-animal-tye & dye type. I thought we would be bored of them by now, and that the trend would be over, but it is coming back stronger, and I am falling for it this time round. In fact, I am fantasising on some BCBG Max Azria printed and draped little numbers at the moment. With a tan, please. And an exotic holiday.

But seriously, there are several factors. And one of them is undoubtedly McQueen. I think more than a mere inspiration to others with his amazing take on prints, he reached the height of the graphic and futuristic trend with his last collection. Not that any of it was actually wearable, but that is what inspiration is for, just like haute-couture.

And interestingly, houses that set the tone first, such as Balenciaga, are going in another direction this season. Where is a good question though, regarding Nicolas Guesquière’s latest attempt.

Above: Luke Prichard, lead-singer from The Kooks, and Twiggy. Photos: Alize Morand.

On Tuesday, I braved the typical London rain to go to Chelsea College of Art & Design – not to go back to my university, but because a certain gold metal card had been hand-delivered to me before: an invitation for the Burberry show.

The rain issue was soon solved by adorable staff holding umbrellas with the Burberry check, although I could have done with a trenchcoat too. It seems that the house had ordered the weather in fact, which was oh-so-British. And this feeling was confirmed when I came inside of the tent, to face a wall covered with a screen on which rain was projected. You sense the atmosphere.

The show was exclusive, but still more people were standing than seating – luckily I was seated – and the first few rows were full of celebrities. Burberry apparently chose them for their ‘Britishness’. From the casts of Skins, Harry Potter, Twilight to members of rock bands The Kooks or One Night Only, to models Erin O’Connor, Rosie Huntington-Whiteley and sixties icon Twiggy. There were obviously fashion superstars Carine Roitfeld, Anna Wintour, Natalie Massenet, Sir Philip Greene, and Hollywood was represented by Kate Hudson, Claire Danes and Mary-Kate Olsen. But I kept wondering where was Emma Watson, the face of the brand and star of last season’s show, especially since her brother was present.

So packed that Harry Potter’s star Bonny Wright was sat third row, model Poppy Delevigne was second row, and *oh shock* Julia Restoin-Roitfeld, who looked stunning in a taupe cashmere Burberry trench, was moved second row after the girlfriend of one of the members of the Kooks decided to join last minute. The staff & photographers apparently did not appreciate that she was sitting on his knees, front-row, with a huge fur coat, therefore halfway on the catwalk!

Gossip aside, the show was a great display of Burberry’s understated British elegance and craftsmanship, with a focus on outerwear, and outdoors, just like past seasons’ ad campaigns. The main focus was a contrast between voluminous fur and shearling jackets over feminine silk dresses with delicate ruching. All felt like an ode to the fall season, in particular with the choice of fabrics and tones.

The collection had great consistency overall and a strong vision with a powerful feel, but was also set in several parts. First, an obsession with aviation: utilitarian green, khaki and mustard sheepskin parkas and mid-lengths dresses. Then, a sexy officer look with tailored navy blue and brown military blazers and trenchcoats worn on tights without skirts. Finally, more feminine jewel colours: burgundy, fuschia and cream, with plenty of fur.

The accessories played a huge part in the collection, with most girls wearing sexy leather and snakeskin thigh-high stiletto boots. As for the bags, they might be next season’s it-bags, which would be quite new for Burberry, because the studded suede, leather, and fur purses caught the light – and my eye – more then anything else in the show.

But where the house was truly innovative and clever, was in the marketing of the event. Not only was the show the unmissable event of London Fashion Week, the only one that Madame Wintour flew for, but it was also shared with the rest of the world. Indeed, fashion experts in major fashion capitals were invited to a private 3D live screening of the event, while fashionistas all over the world could stream it live on Burberry’s website. Actually, if you haven’t yet, I suggest you take a look here now. But beware not to fall in love with the collection, as some pieces are already on sale, but only for 24h now!

Front row at Tommy Hilfiger F/W 2010 catwalk show, with Anna Wintour, the iconic editor-in-chief of US VOGUE, fur-clad. Photo: Alize Morand.

It would be an understatement to say that fur has been all the rage this season. I have come back from New York with memories of army of fashion ladies and gentlemen in fur coats, hats and trims. But fur is not reserved to the fashion elite, and I have witnessed countless stylish old ladies with long-fur coats.

Fur is another of fashion’s controversial topics. PETA advocates could chase you with fake blood to spill over your white fur coat if it is real fur, whilst some argue that fake fur is more polluting and hypocrisy, just like artificial sweeteners. So what is the solution? Vintage maybe.

Nevertheless, it seems that this season, vintage or not was not the question, as fur has been literally everywhere, both in the public, and on the catwalk, with the best luxe looks seen at Michael Kors, Zac Posen and J. Mendel. There was also some serious experiments, such as Oscar de la Renta’s purple fur on red coats, the gorgeous fur bags at Marc Jacobs and black goat fur at Althuzarra.

I find it so interesting how looks carry meanings and how wearing a fur coat sometime ago had another significance than what has become today a mainstream trend. Although they were once markers of it, fashion trends today somehow remove cues of class, age, ethnicity, social or cultural background. And maybe it is for the best.

Read my Trends Review from New York Fashion Week for Prestigium & Le Monde here!

Each season, there are different ways for a fashion designer to present his or her collection. Some organise huge shows in oversized venues packed with celebrities, like Marc Jacobs used to – although this season he did the opposite. Some organise smaller shows with a handpicked crowd in a studio, like Rad Hourani. Some have exhibitions, like Temperley. Others organise presentations with models walking around and posing, like The Green Shows. And finally, others have presentations, but on a runway, like Tory Burch.

The latter worked particularly well for several reasons. First, while presentation often means smaller scale and quieter event, this one was in the main catwalk tent in Bryant Park, with a packed crowd of fashion editors and buyers, a vibrant atmosphere, great music and models standing on the catwalk. Therefore making it almost a hybrid between a show and a presentation, and giving a more dramatic view to the spectator.

Secondly, the models were not posing but talking to each other and dancing on the pop playlist, which gave a real life to the clothes, and a genuine context.

Finally, and most importantly, the collection was fabulous: the perfect autumn/winter wardrobe. Luxe separates in gorgeous fabrics like tweed, fur, sequins and wool, all in reds, oranges, browns and greys, were accessorised with the most exciting leather bags with gold chains and straps, thick opaque tights and studded or laced-up boots. The styling was excellent and the make-up nude apart from bright red lipstick.

I chatted briefly with Tory, the lovely designer, who was the best advertising for her own collection, polished in a gold embellished minidress layered over black basics, and also attending shows of other designers that she appreciates, such as Vera Wang or Proenza Schouler. She revealed that after this hectic week, she was celebrating in New York with her crew, and then taking a well-deserved break in Switzerland. Maybe a first step to Europe, where she deserved to be known. Our loss.

First look at Vera Wang F/W 2010 today at Bryant Park. Photo: Alize Morand.

Live from New York Fashion Week: New York is different from everything else. And so is the fashion scene: more calm and casual than in London or Paris, yet there is a certain energy in the room, a spark in the atmosphere, a bright sun despite the snow around. The drinks are very much stronger too, which makes open-bar after-parties rather difficult to recover from.

So much happened in the past few days that it is difficult to sum it up, but it involved some show-watching (Vera Wang, Perry Ellis, Rad Hourani, The Green Shows, Temperley), celebrity-spotting (Kim Kardashian, Kelly Osbourne, Leigh Lezark, and tons of US/ TV reality popstars that I had never heard of before), party-crashing (Zac Posen at the Basquiat-clad Rose Bar, Tracy Reese at the gorgeously hype Goldbar, Bebe Launch Party, but we didn’t make it into Marc), designer-(s)talking (Alice Temperley, Tory Burch, who so kindly invited me herself to her show tomorrow, after we discussed fashion week survival and holidays in Switzerland), caffeine-overdosing (this should stop due to side effects such as hyper-ness), stiletto-running (always!), taxi-fighting (of course, because walking in the melting snow in heels, even for a few blocks, is suicidal, and the NYC underground in a morbid and old system full of rats, although it does run 24h/day), and models-whoaing (the models at Perry Ellis looked like Hollywood actors).

Oh, and I have officially reached new heights: I have been sitting a few feet behind the always-perfect bob of Madame Anna Wintour. Herself. Wow.

More to come soon! In the meantime, check my first article for Le Monde and Prestigium here.

I would rather comment on this legacy rather than on the circumstances of his sad death. More than a mere designer, McQueen (his actual first name was Lee) was like a child – he thought fashion as a fantasy and made his creative and insane dreams come true.

Regardless of commercial matters, he gave life to creatures every season and dressed women in the wildest (fairy)tales outfits. No matter that only Lady Gaga or Daphne Guinness would be daring enough to wear some of his pieces on the red carpet – just like last collection: Spring/ Summer 2010, above – he let his ideas blossom and was a true créateur.

RIP Alexander McQueen. You will be missed. We would all have loved to see your F/W 2010 collection in Paris, and all those to come. Those who attended your shows were blessed. Best and sincere thoughts to your friends and family.

Above: A look from Alexander McQueen’s Spring/ Summer 2010 collection. Getty Images.

Doesn’t this ad campaign for Roberto Cavalli Spring/ Summer 2010 make you dream of hot summer days? I love its retro spirit, the flowing chiffon of the dresses, on the skin, the soft washed up prints and the luxe decor.

It really does make me dream of exotic vacations, when I see the snow falling by the window, here in London, and think of more snow awaiting me in New York in the next week. But eh, it’s fashion week, so no matter how many inches of snow I have to face, I will still probably have more inches of heels!

Roberto Cavalli Spring/ Summer 2010. Carolyn Murphy and Isabeli Fontana shot by Steven Meisel.