IF there was a single couture show I looked forward to each season, it would always have to be John Galliano for Christian Dior. The flounce, the drama, the ingenuity and fancy always left me smiling, and wondering where I could wear on of those delightful creations. This time, he blew me away and left me wanting much, much more.

Inspired by flowers and Mother Nature herself, Galliano delivered a purple jacket that looked like an oversized Vanda Miss Joaquim strutting down the runway, a black taffeta gown with hand-painted pansies on its underskirt, and a most refreshing palette of spring greens, cerulean and persimmon.

Galliano reportedly studied real flowers and photography by Irving Penn and Nick Knight, selecting classical Dior silhouettes (hello, tulip!) for a gallant collection reminiscent of a spring field. Stephen Jones contributed to the bouquet with headgear that looked like florist’s plastic wrap, and outlandish shapes completed the whimsy.

We never fell out of love, but now we’re begging for more…

IF there was ever a designer who killed it each and every time with his red carpet couture, it is Elie Saab and his floor-length gowns, fantastic shapes and feminine silhouettes. And while his Fall 2010 Couture collection was no different, it left us wanting more.

We are used to ooh-ing and aah-ing over every single creation as it strut down the runway but, alas, it didn’t last. As when Karolina Kurkova emerged in a sanguine gown of guipure lace and silk tulle, we held our breath as the other crimson-hued creations stepped onto the catwalk. Then came the muted camels and the steely blues which did well to mellow out our reactions. That’s not to say that we didn’t love every sequinned detail, every draped shoulder and each origami bodice. Yet, we craved for more Elie.

Before the show, the designer said, “If a woman doesn’t want rich, she doesn’t come to couture.” But we wanted riche, and never got it.

SO “unimaginative” might be a little harsh, but we can’t shake the feeling. Maria Grazia Chiuri and Pier Paolo Piccioli’s efforts just didn’t grab us, but we’d still give it a go. As uninspiring it may be—we had to wonder aloud if this was indeed couture or a prêt-à-porter collection overflow—we loved the mini hemlines, the dropped waists and the kitten heels. But if those stick-thin models manage to look like they’re wearing sacks, what chance do the rest of us have?

That said, the crinolines and birdcages lightened our moods a little, and we were left deciding which dress we’d rather wear between the high-necked, black chiffon number with the giant flower appliqué and the grey tube dress with its yellow, origami organza skirt.

Is this haute couture meant to delight our sartorial senses or one catered to the red carpet treading, “Twi-hard” generation?

Alas, our confusion remaining and our questions left unanswered, we salute Chiuri and Piccioli for trying to fill Garavani’s (irreplaceable) shoes. But that is little consolation for those of us yearning to play by the old rules.

IF couture was meant to be wearable, then we’d be bored to death every time Paris Fashion Week floated round. But in light of the faltering economy, even Karl Lagerfeld has toned down the opulence and frivolity—but only for a while.

Kaiser Karl, who often dreams his collections before he puts them on paper, sent models out wearing dresses, skirt suits and gowns that were terribly easy-to-wear, but in luxe, succulent fabrics that made them more “special occasion” than “lunch with the girls”.

There was an air of solemnness—a darker, moodier palette compared to those blinding whites from his Spring couture show—but the theatrics kept it all in check. Against a backdrop of a towering gold lion and a giant pearl, the velvets, brocades, furs and signature tweed stood out in shades of maroon, hunter green, navy, bronze and gold. It slightly bordered on debauched but was returned to real-life sensibilites with the models’ fluffy, barely-brushed locks and faded makeup.

Thank you Karl, we want to be a part of your perfect world once again.

Photos: Getty Images

THE most anticipated show at the Rosemount Australian Fashion Week had to be Ksubi, celebrating its 10th birthday with models clad in double (triple?) denim, strong white and blacks and a dash of colour here and there. The models strut down a circular catwalk to close the RAFW in astounding fashion.

Designers Dan Single and George Gorrow worked with stylist Brana Wolf to showcase lots of distressed denims, statement prints and strategic cut-outs that shouted sex, sex and more sex. The grungy, rough and tumble styles obviously captured the attention of the cool-kid crowd, making us wish we had killer legs to pull off all the bum-skimming looks. The hair too complemented the 90s revival—dead straight and oozing street-cred.

Love? Maybe. Lust? Totally.

WESTERN Australia’s Alvin Fernandez sent down models in glossy blacks, rich mustards and electric blues amid a sea of off whites, golds and ivories for his Spring/Summer 2010 collection for Ae’lkemi.

Inspired by Italian screen siren Sophia Loren, the collection featured intricately detailed corsetry, luxe satins and silks, and a very cute cocktail dress with a beaded bodice and ostrich feather skirt.

But it was the floor-length, printed, blue ruffle-skirt dress that got cameras flashing as it sauntered down the runway — our personal favourite as well.

Photos: Getty Images

THIS morning’s collection from Alice McCall at the Rosemount Australia Fashion Week had one message for us, and it read loud and clear. The vibrant colours and prints shouted of the summer sun and the spirit of spring, effectively reminding us of the dreary winter that’s creeping up on us fast.

The brand’s quirky style was showcased at its best, with Balinese lace shorts, midriff-baring tops, plunging necklines and psychedelic baroque prints presented in an inspiring palette of intense blues, sunshine yellow, nudes and whites.

Sydney girls will be happy to know that Alice’s signature dresses have been updated in looser, sexier styles; we can’t wait to get our hands on that yellow version.

Photos: Getty Images

THE ever-flamboyant Alex Perry sent out models on the RAFW runway in a dazzling array of poufy tulle dresses, girly jackets, big knickers, and romantic lace and florals to make even the cynics in us swoon.

There was everything we had come to expect from the designer — beading, shimmer, puffball silhouettes — so much so we were gasping in delight as we imagined ourselves in frock after frock. Of course, the collection is not for the faint of heart, whether you choose to wear one of his gorgeous gowns or a mini dress from the rest of the line.

Those Beyoncé-style knickers were more than a surprise, but with his perfect corsetry and tailoring, they looked almost wearable. We’re looking forward to seeing his pieces on the A-list very soon.