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On the very same day as the pop star Taylor Swift, designer Sarah Burton stepped into her Showgirl phase. In her second collection as Givenchy designer, Burton amplified the drama with collars embellished with shimmering stones across the collarbone area, rich peach-colored maribou plumes, a compact and striking evening dress in lipstick red leather, and supermodel Naomi Campbell in a tuxedo jacket draped over a barely-there lace trim bra.

A New Identity

Burton's tenure at Givenchy under a year, but Alexander McQueen’s long-term right-hand woman has swiftly crafted a distinctive character for the house and for herself. Givenchy, the spiritual home of Audrey Hepburn and the classic LBD, has an immaculate bloodline of sophistication that extends from the French capital to Tinseltown, but it is a modest entity as a business. Earlier creative directors had largely embraced urban fashion and utility-coded metallic accents, but Burton is reviving the sophistication.

"My intention was for it to be provocative and alluring and to reveal the body," Burton noted after the show. "When we want to empower women, we often adopt male-inspired styles, but I wanted to explore female emotional intelligence, and the act of dressing and undressing."

Concealed appeal was also present, too, in a dress shirt in supple white leather. "Each woman is unique," Burton stated. "Occasionally during casting, a model dons a look and it becomes clear that she is uncomfortable in high heels. Therefore, I adjust the outfit."

Return to Glamorous Events

Givenchy is rebuilding its presence in high-profile occasion wear. Burton has outfitted actor Timothée Chalamet in a butter yellow tuxedo at the Oscar ceremony, and Kaia Gerber in a classic ballerina-style gown of black lace at the Venice film festival.

Schiaparelli’s Surreal Resurgence

The fashion house Schiaparelli, the avant-garde design house, has been experiencing a revival under designer Daniel Roseberry from America. Next year, the V&A Museum will host the first major British Schiaparelli exhibition, looking at the work of designer Elsa Schiaparelli and the brand she created.

"Schiaparelli is not merely purchased, you collect pieces from Schiaparelli," Roseberry said backstage.

Women who wear Schiaparelli require no exhibition to tell them that these designs are masterpieces. Proximity to art is good for the bottom line – apparel is priced like fine art, with outerwear priced from approximately £5,000. And revenue, as well as visibility, is increasing. The location of the presentation was the Pompidou Center in Paris, an additional signal of how intimately this brand is linked to art.

Returning to Historic Partnerships

Roseberry revisited one of the most renowned partnerships of Elsa with artist Salvador Dalí, the 1938 "Tears" gown which will be in the V&A show. "This was about revisiting the foundation of the fashion house," he said.

The shredded details in the initial design were painted on, but for the modern iteration Roseberry shredded the silk fabric itself. In each version, the rips are eerily suggestive of skinned skin.

Eerie Details and Playful Threat

A touch of threat is present at Schiaparelli – The founder called her mannequins, with their sharp shoulders and tailored waists, as her miniature army – as well as a joyful appreciation for humor. Nail-shaped buttons and golden noses hanging as ear accessories are the distinctive language of the house. The highlight of this presentation: synthetic fur created using brushes.

Surrealism pops up all over current fashion. Eggshell-inspired heels – walking on eggshells, get it? – were highly sought-after at the brand Loewe. Dalí-inspired melting clocks have walked the catwalk at the Moschino label. But Schiaparelli leads in this area, and Roseberry presides over it.

"Schiaparelli clothes have an extreme drama which captivates everyone present," he said. A scarlet ensemble was cut with a triangular piece of nude-hued fabric that rested around the area a pair of knickers should, in a captivating deception of nudity. The interplay of functionality and spectacle is all part of the show.

American Creatives in the French Capital

A whirlwind of new designer introductions has brought two darlings of New York to the French fashion world. Designers Jack McCollough and Lazaro Hernandez have departed from the fashion house Proenza Schouler they created in 2002 to helm Loewe, the Spain-based leather label that evolved into a $1.5 billion powerhouse under the leadership of Jonathan Anderson before his transition to Dior.

The Americans looked delighted to be in Paris, France. Vibrant Ellsworth Kelly hues brought an upbeat pop art aesthetic to the sophisticated art intelligence for which Loewe has become recognized. Vivid yellow slip-ons dangled their tassels like the hem of Josephine Baker; a red peplum jacket had the proud shiny curves of a tomato sauce container. And a party gown imitating a fresh-from-the-bath towel, fluffy as a freshly laundered bath sheet, captured the sweet spot where innovative design intersects with stylish enjoyment.