Dior

The audience sat beneath an installation designed by the company’s creative director, Maria Grazia Chiuri, and Claire Fontaine, a feminist artist collective known for placing neon signs in public places to highlight and verbalise feminism. Chiuri’s support of feminism has been clear since she started at Dior. The collection, titled A Visual Diary and inspired by a box of photos of Churi from the 70s, opened with strong monochrome looks: a black trouser suit over a neat collared white shirt and tie, followed by a series of black dresses, belted with logo belts. Checks were prominent.

Dries Van Noten

Dries Von Noten introduced us to “Nocturnal Glamour”, the party girl who heads to London’s Camden Palace or New York’s Mudd Club in the 70s and 80s. Also on the mood board was the work of the makeup guru Serge Lutens. The show opened with a pop of acid Hawaiian print and grew darker and richer with patterns, colour, textures, sequins and feathers. This girl was out to be noticed; an oversized check biker jacket worn with a mustard chunky cardigan over a red and black feather skirt. The final looks were full-on vampish glamour.

Maison Margiela

The gestures and uniforms associated with Parisian society were the inspirations behind this collection. John Galliano is known for dissecting and deconstructing heritage pieces; a coat, pussy-bow blouse or lady-like dress were all reimagined. Starting with outerwear, there was a coat stripped down to a collar and voluminous proportioned coats showing a single colourful sleeve or a bow-neck collar. Integrated into the collection was the new Recicla label, consisting of restored and reappropriated, limited-edition vintage garments or accessories hand picked by Galliano.

Loewe

The craftsmanship on display at a Loewe show can take your breath away. This season, fabrics were sourced from Kyoto in Japan, and detail on dresses included porcelain ceramics by Takuro Kuwata. Dresses played with the form of the silhouette and texture, inflated sleeves, raised necklines andsculptural collars and came in wool, brocades, sturdy cottons and jacquard silks. Knitted dresses with elongated sleeves appeared to have been dipped in beading, coats offered a dramatic grandeur in volume and fabrication, while tailoring fitted the form with a peplum waist.

Lanvin

This was Bruno Sialelli’s third collection for Lanvin. The backdrop was the Manufacture des Gobelins, ahistoric Parisian tapestry factory signifying the importance of craftsmanship. It was inspired by the past, by way of Jeanne Lanvin’s vision of Maison Lanvin as a multifaceted brand. Feminine tailoring was captured in an opening leather cape, sculptured coats and peplum jackets that felt modern. The Arpege logo, from the perfume bottle, appeared as hardware on pockets and the tops of boots. Delicate touches came as calligraphy-print ruffle dresses and 20s-inspired eveningwear.

Lemaire

Sarah-Linh Tran and Christophe Lemaire cast their friends alongside models and had them meander across the entrance hall of the medical school of the Université René Descartes. The palette was neutrals, the silhouette voluminous. Every exit offered key wardrobe pieces – a great trench, some with hoods, others with detailed storm flaps; the perfect jacket; A-line skirt; and a right-height heeled boot. This season, print was introduced, which felt like a new direction. The earthy drawings by the Mexican artist, the late Martín Ramírez, had a charming appeal on dresses, skirts and boots

Photograph: WWD/Rex/Shutterstock

Isabel Marant

Isabel Marant was building the perfect wardrobe this autumn, with comfort and desirability being key. There was the simplicity of slender monochrome looks with stirrup pants; airy and fluid dresses, one in polar blue another in an animal print; artisan embroideries, floral prints and shearling looks gave the collection a raw edge. Final looks had a puzzle-like effect, created by leather inlay with animal accents, which brought an artisan energy to the black evening looks, some embroidered with pearls on front panels to add a simple chic detail.

Paco Rabanne

One of the highlights of Paris fashion week was Julien Dossena’s atmospheric show in the medieval hall of the Conciergerie (formerly a prison that held Marie Antoinette and part of the royal palace). For AW20, Paco Rabanne’s signature chain mail was cleverly adapted into monastic and military-style pieces, the fusing of guipure lace and metal mesh made a hybridised armour that glided over the body. Tapestry-inspired knits and a printed stretch jersey with Joan of Arc anachronisms were covetable, while religious vestments transformed into a tasseled dress in mohair.

Saint Laurent

Breaking the conventional codes was on Anthony Vaccarello’s mind this season. His inspiration was Saint Laurent’s well-behaved and overly bourgeoise elegance of the 90s with a perverse twist, introduced in the mix of fabrics. Latex was key throughout the collection, the ultra-glossy, skin-tight leggings and body-hugging pencil skirts worn with lace and cashmere. The double-breasted, gilded-button blazer took centre stage, and houndstooth, leopard print and polka dot patterns contrasted with the shiny texture of latex.

Rick Owens

The silhouette was built from the shoulders down, sculpted and peaked on a leather motocross jacket and textured knits. Puffer coats layered over body-skimming asymmetric hemmed dresses wrapped around an exposed leg. Owens owed the inspiration to Gary Numan and David Bowie, with alien-like models walking on recycled plastic snakeskin platform boots that elongated the looks. For fans of the label, the sleeping bag capes in sky blue, silver and black will be next season’s coveted piece.

Photograph: Pixelformula/SIipa/Rex/Shutterstock