At Hermès, Jean Paul Gaultier's woman was in man’s clothing. Lily Cole may have opened the show, channelling Cathy Gale from the 60s TV show The Avengers, but the rest of Gaultier’s cast quickly stole their look from her partner John Steed.

While the James Bond theme tune played models stomped out in all manner of reworked traditional menswear. Think trenches, tuxedos, bowler hats, duffle coats and anoraks. Mini Birkins attached to umbrellas, flashes of Hermès orange and hints of leopard print did give things a ladylike twist, but at the end of the show, as they all walked out together, one thing was for sure – you wouldn't want to mess with any of them.

Hermès A/W 10-11. Images: Getty.

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Alexander McQueen’s final collection was shown in a private salon in Paris to only a dozen lucky people at a time. The intimate showings allowed viewers to get up close and personal, with the 16 stunning pieces only serving to amplify the great loss the fashion world has suffered, following the British designer’s suicide at his London flat last month.

Inspired by Hieronymus Bosch’s Garden Of Earthly Delights, Byzantine art and Botticelli, eerie angel motifs appeared throughout the collection – which also heavily featured McQueen’s signature brocades and embroideries.

"It was all inspired and developed and all patterns were cut by Lee," chief executive Jonathan Akeroyd says, using the designer’s first name. "It was well underway and the development was very much in final stages, so it was just about carrying on finishing the pieces…we had four weeks to finish his work, basically.

“We decided this was the best way to do it in a very low-profile environment – the most appropriate way in light of what has happened."

We have to agree – even without McQueen’s highly theatrical presentations, the clothes speak for themselves. Breathtaking and heartbreaking at the same time.

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Alexander's McQueen's final collection.

A dramatic fountain in front of the Louvre was the perfect backdrop for Marc Jacobs’ Louis Vuitton show. It celebrated the "return of the woman", hence the inclusion of the ultimate woman's body: the body herself, Elle Macpherson, who finished the show. The 1950s reigned, with classic full skirts the only silhouette on offer. Ladylike with bodice tops (that Laetitia Casta and Lara Stone looked like they had been poured into), tweeds and prints, the only time the mould was broken was with the inclusion of leathers. An abundance of Victoria’s Secret models drummed home the message, and heralded the return of the womanly woman to the runways. And where Marc goes, well, we follow.
Oh, and the shoes were fab!

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Elle Macpherson (left) and Lara Stone (right) walk for Louis Vuitton A/W 10-11 (above) and LV's front row including Alexa Chung, Pixie Geldof and Daisy Lowe (below). Images: Louis Vuitton/Chris Moore.

A sea of camel, black and grey, terrific tailoring (call it the Celine effect), tweeds and knits mixed with a touch of Western (fringe-trimmed pants, anyone?) and lots of 70s shapes, Hannah MacGibbon's Chloé girl embodies luxury. Masculine and precise-cut coats were loosened up with a touch of the prairie. Hit prediction: the aurora bag, carried like an envelope clutch.

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Chloé A/W 10-11.

Walking into Le Grand Palais for the YSL show was like walking into a meat freezer, only the meat was all eaten and just the fur skins remained, and now they were all sitting front row!

But the show made the sub-arctic conditions worth bearing. Pilati raided the YSL 70s archives and turned up some smash hits – fabulous high-waisted culottes, classic trapeze skirts, floppy hats, high-neck shirting – reinterpreted for the modern YSL woman. It was an all-black collection bar some flashes of colour and print, one of which was a royal purple dress with clever caped back, without doubt the most covetable of the season. Plenty to love, more clothes to want now. Yves was smiling down on this one.

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YSL A/W 10-11 (above) and Kylie Minogue with YSL designer Stefano Pilati (below). Images: Getty.

It’s almost impossible not to keep running into Aussies over here. Expat freelancers, buyers, editors – and, of course, designers. This evening it was Paris-based Martin Grant who held a presentation in a room full of sculptures and frescoes. A tan-and-black leather mini-dress complemented the surrounding colours perfectly, while electric blue cocktail frocks popped against the neutral backdrop – but one thing all the pieces had in common was an air of confident classicism and that catchphrase of the season – easy wearability.

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Things are looking up at Cacharel after a difficult few years. Their new-ish designer Cedric Charlier produced a highly commercial yet youthful and fresh collection peppered with liberty prints and a hint of 60s without being literal. Loved the half real, half trompe l'oeil ruffled skirts! Divine.

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Think super-soft suedes and kid leather, cleverly cut and all layered up with cashmere and jersey, belted with perforated wide belts. The result? Sculptural, sharp silhouettes with dramatic collars. More juxtaposition of different fabrics – the buyers will pull it apart and lap it up. And US Vogue (Grace Coddington, Tonne Goodman) were front row, proving Haider's a newcomer no more!

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Stella's show started with an imitation recording of Tiger Woods’ desperate plea to his mistress to change her name on her voicemail because his wife had gone through his phone…but not sure why. Maybe it was about being more transparent, simplifying your life. The notes gave no clue, but they did include a personal message from Stella: "This one is also for Lee...You're missed!"

The new luxe minimal – with a flashback to the 1990s (but with much better music!) – showed beautiful tailoring in greys, camels and back-and-white, adding a dash of fuchsia and a touch of orange for some zing. The models glowed with a pared-back confidence that said: quality matters more than quantity and showmanship. It was simple, sophisticated and, like her former deputy Phoebe Philo at Céline, Stella gave grown-up women something to lust after.

Hit predictions: the pointy-toed kitten heels.

Colour clash: fuchsia and red seen at Stella, Willow…and too many others to mention.

And tails! Otherwise known as the mullet effect. Seen at Céline (shirting) Givenchy (layered over pants) and Stella McCartney (evening dresses).

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