In what turned out to be the most spectacular show in Paris, Alexander McQueen returned to his ancestral Gaelic roots for a romantic winter collection inspired by the Scottish Highlands and the photographs of Julia Mary Cameron.
In this wild and wonderful highland fling, Titian-haired models in eagle feathers and antler head-dresses stalked the catwalk in shapely Glen check suits, tartan dresses and cable knit boleros the colour of moorland heathers.
McQueen was in buoyant form, playing with plaids as easily as proportions and keeping the modern hourglass silhouette in check with a slight bustle added to a flirty tartan kilt.
As the millinery by Balie Walsh became more extravagant and playful, so did the shapes and historical references from l8th- century frock coats and milkmaid dresses to Edwardian lace gowns and Victorian velvet capes.
Furs and feathers flew in every direction, but the handsome riding coats, fan-tailed jackets and suits in misty plaids were right on target. In a final coup de grâce, a ghostly projection of Kate Moss in billowing chiffon like a will o' the wisp closed the show and brought the house down.
At Hermes, where Jean Paul Gaultier cracks the whip, the collection was all about dressage and its aristocratic ladylike associations, all riding capes, riding hats and luxury leathers entirely in keeping with the spirit of this august French house that established its name with saddlery. To a soundtrack of galloping hooves, a thoroughbred line up of safe but good-looking sheepskin jackets, silky leather capes and jodhpurs set the tone of low-key luxury.
At John Galliano the equestrian idea struck a more lawless note. His Wild West collection may not have broken new ground, but stayed true to its theme and rebellious spirit.
But as Paris fashion week came to an end, it was Alber Elbaz at Lanvin whose collection was the highlight, capturing the contemporary spirit of womanhood with elegance and style.
