As PFW continues, our fashion hearts are aflutter with the likes of Balmain, Christian Dior, Lanvin, Vicktor & Rolf, Jean-Paul Gaultier, Celine and Givenchy ruling the runway.

We were a little worried after Olivier Rousteing took over at Balmain, but we needn’t have been as he stayed true to the brand aesthetic; working statement jackets, slick pants and sexy mini dresses that have been embedded into the Balmain DNA. The epitome of Parisian city girl chic, tops, dresses and jackets were richly embellished teemed with tiny hot pants or flowing leather skirts. This was a visual feast.

With the recent departure of Galliano and the temporary appointment of Bill Gaytten, the Dior show was watched with bated breath. A ’50s sensibility was displayed throughout as the models walked in full skirts and collarless jackets with cinched in waists. Downplayed and demure, this Dior collection was for grown-up women looking for understated glamour. Particularly pleasing was the evening wear; beautiful red chiffon dresses and flowing nude gowns. Closing another Dior chapter, this time without a fanfare, we wait to see what will happen next.

Jean Paul Gaultier was as much of a show as a catwalk. Models walked with numbers in hand as if at an auction while a commentator told us each girl’s personal interests. The collection was diverse and the models unique; pierced faces, tattooed tights, or full on chest pieces peeking out from an array of tailored tuxedos, billowing jumpsuits, 50s dresses or flowing gowns. With so many elements it is almost impossible to describe but Jean Paul Gaultier’s multi faceted approach never fails to get the fashion press talking.

The Lanvin woman will dress with a mystery and dark allure next season. Black masculinised dresses opened the show, some encrusted in large jewels around the side and neck, serpentine in nature. Long crucifixes and large eagle chokers were worn over tuxedo style suits and chiffon evening wear. Even the tailored white dresses maintained a vampish glamour teemed with dark chokers and slicked back hair.

If Vampish glamour doesn’t say spring to you, then dress like a kooky Barbie doll a la Viktor & Rolf. Giant blanket stitches in all colours playfully adorned dresses, a-line skirts and jackets. Frilled shoulders featured on fitted dresses and baroque swirls were created by mesh cut outs. The evening dresses were fit for the top of a cake; indeed many looked like cakes in themselves with multiple tiers and rich food dye colours.

Phoebe Philo’s Celine show took celebrated simplistic forms and turned them into something fresh and unseen. Trench coats had fuller arms, trousers had added stiff peplums and pleated skirts were worn low on the waist with thick belts. Moss green and deep aubergine were the colours of choice, alongside clinical whites and black leather. This was a collection that wasn’t too summery and instantly wearable, perfect for our usually poor British summertime.

Powerful and sexy; the Givenchy show, like many previous fashion week collections, was notably influenced by the ocean. Yet a fairytale this was not, as a parade of fitted silhouettes and shimmering skins presented a tough and readily wearable ensemble. Cream suits with shirts buttoned up to the top and skin-tight jodhpurs were completed with oversized shark tooth necklaces. Mesh and chiffon panelled dresses cascaded down the female form in waves, with chiffon fronds trailing behind. Shimmering sequins, reminiscent of scales, covered evening wear and tailored jackets, whilst python skins plastered the shoulders, sides and front of utility dresses. Our favourite were the high-waisted pencil skirts that each had a thin metal chain brace, worn diagonally over the shoulder. In short, this collection was sublime.