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On the very same day as the pop star Taylor Swift, designer Sarah Burton stepped into her Showgirl phase. During her second presentation as Givenchy designer, Burton amplified the drama with collars embellished with shimmering stones along the décolletage, rich peach-colored maribou plumes, a pocket-rocket cocktail dress in bold crimson leather, and supermodel Naomi Campbell in a formal tuxedo coat left open over a barely-there lace trim bra.

A New Identity

Burton's tenure at Givenchy less than a year, but Alexander McQueen’s long-term right-hand woman has swiftly crafted a unique persona for the house and for herself. The Givenchy label, the iconic residence of Audrey Hepburn and the classic LBD, has a flawless lineage of sophistication that stretches from Paris to Hollywood, but it is a relative minnow as a business. Previous designers at the house had largely embraced urban fashion and functional metal embellishments, but Burton is bringing back the allure.

"I wanted it to be provocative and alluring and to reveal the body," Burton said following the presentation. "To strengthen women, we often adopt male-inspired styles, but I wanted to examine female emotional intelligence, and the process of adorning and revealing."

Subtle seduction was evident, too, in a dress shirt in smooth white leather. "Every woman is different," Burton stated. "At times when selecting models, a model tries on a garment and I immediately sense that she prefers not to wear heels. Therefore, I adjust the outfit."

Return to Glamorous Events

Givenchy is reaffirming its position in high-profile occasion wear. Burton has outfitted Timothée Chalamet in a soft yellow tuxedo at the Oscars, and Kaia Gerber in a retro-inspired ballet dress of dark lace at the cinematic event in Venice.

Schiaparelli’s Surreal Resurgence

Schiaparelli, fashion’s house of surrealism, has been resurgent under the American designer Daniel Roseberry. The following year, the V&A Museum will host the inaugural UK Schiaparelli showcase, exploring the work of Elsa Schiaparelli and the fashion house she established.

"Schiaparelli is not merely purchased, you collect Schiaparelli," Roseberry said post-presentation.

Women who wear Schiaparelli don’t need an exhibition to tell them that these designs are masterpieces. Proximity to art is positive for revenue – clothes come with gallery prices, with jackets starting at about £5,000. And profits, as well as visibility, is increasing. The setting for the event was the Pompidou Center in the French capital, a further indication of how intimately this brand is linked to art.

Revisiting Iconic Collaborations

Roseberry recalled one of the iconic joint efforts of Schiaparelli with Salvador Dalí, the 1938 “Tears” dress which will appear in the V&A display. "This centered around going back to the roots of the brand," he noted.

The “rips” in the original were painted on, but for the modern iteration Roseberry tore into the crepe silk itself. In both designs, the tears are chillingly evocative of stripped tissue.

Surreal Elements and Menacing Charm

A touch of threat is present at Schiaparelli – Elsa referred to her mannequins, with their angular shoulders and tailored waists, as her toy soldiers – as well as a cheerful embrace of wit. Nail-shaped buttons and golden noses hanging as ear accessories are the distinctive language of the brand. The punchline of this show: faux fur made from paintbrushes.

Avant-garde themes emerge all over current fashion. Cracked-egg heels – walking on eggshells, geddit? – were extremely popular at the fashion house Loewe. Surrealist distorted timepieces have appeared on stage at the Moschino label. But Schiaparelli dominates this domain, and Roseberry oversees it.

"Schiaparelli clothes have a heightened theatricality which sucks the air out of the room," he said. A red gown was adorned with a geometric insert of flesh-toned mesh that was positioned approximately where underwear would typically be, in a head-swivelling illusion of nudity. The tension between wearability and theatre is integral to the presentation.

American Creatives in the French Capital

A carousel of creative director launches has welcomed two NYC stars to the Parisian scene. Designers Jack McCollough and Lazaro Hernandez have left behind the fashion house Proenza Schouler they established in 2002 to lead Loewe, the Spanish leather house that grew into a $1.5bn (£1.1bn) alpha name under the leadership of Jonathan Anderson before his transition to Dior.

The US designers appeared thrilled to be in Paris, France. Ellsworth Kelly brights brought a joyful pop art sensibility to the cultured artistic knowledge for which Loewe now stands. Banana yellow loafers shook their tassels like the fringe of Baker's costume; a red peplum jacket had the bold reflective shapes 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.