Clare Waight Keller did not hold back on the drama when it came to Givenchy's couture collection, with feathers adorning nearly every other look sent down the runway.
Welcome to Maria Grazia Chiuri's goth period. With each look more moody and dark than the last, a perfectly draped velvet dress still stood out for it's perfectly executed simplicity.
Known to err on the side of ultra-sexy, this season, Alexandre Vauthier proved that you don't need to show skin to turn heads with a number of takes on the classic suit.
What's couture without a little (or a lot) of tulle? Ralph & Russo delivered on the red carpet dressing possibilities, including this vibrant red number.
Rather than hold a traditional runway show this season, Giamattista Valli opted for an intimate presentation instead to allow guests to see his craftwork up close. With pieces like this lavender gown dotting the space, it was a worthy decision.
You can always count on Giorgio Armani to deliver the red carpet goods. Expect to see this sparkly black column gown come awards season.
Presenting her first couture collection following the death of Karl Lagerfeld, Virginie Viard made the Chanel house proud with a library-set show that riffed on the brand's traditional tweed.
John Galliano is not one to shy away from the unconventional design, and the latest Maison Margiela was a testament to that. Still, there were plenty of wearable items to be found, including this hunter green coat.
No one is the master of thinking in fashion in terms of shape and space quite like Iris van Herpen. Her latest collection was as much walking art as it was clothing.
After last season's statement-making (literally) collection, Viktor & Rolf reigned it in a bit for the new season, taking inspiration from the notion of glamour and casting spells. The celestial motifs were enchanting indeed.
Once again, Pierpaolo Piccioli put forth a show-stopping couture collection where even the most jaded fashion devotee could not help but be charmed by the combination of a saccharine pink turtleneck and matching feathered skirt.
Elie Saab's gowns just keep getting bigger and bigger. This finale gown seemed fit for royalty—the headpiece also certainly helped.
For Daniel Roseberry’s first show as the creative director of Schiaparelli, he gave the storied house a modern, yet still extremely glamorous look, evidenced by big shapes and cool metallic accents.
You can't help but adore the theatrics of a good, but no means boring suit. Who doesn't want to be this woman?