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Coinciding with Taylor Swift, Sarah Burton entered her Showgirl era. During her second presentation as Givenchy designer, Burton amplified the drama with collars dripping rhinestones along the décolletage, luscious peach maribou feathers, a compact and striking evening dress in lipstick red leather, and Naomi Campbell in a formal tuxedo coat draped over a barely-there lace trim bra.

Forging a Unique Path

Burton's role at Givenchy less than a year, but Alexander McQueen’s long-term right-hand woman has swiftly crafted a distinctive character for the fashion house and for herself. Givenchy, the spiritual home of the actress Audrey Hepburn and the timeless black dress, has a pristine heritage of glamour that runs from Paris to Hollywood, but it is a relative minnow as a business. Previous designers at the house had primarily focused on casual styles and utility-coded metallic accents, but Burton is reviving the allure.

"My intention was for it to be seductive and intimate and to reveal the body," Burton said following the presentation. "To strengthen women, we often adopt male-inspired styles, but I wanted to explore women's emotional depth, and the process of adorning and revealing."

There was covered-up allure, too, in a formal shirt in butter soft white leather. "All women vary," Burton said. "Sometimes when I’m casting, a model puts on an outfit and it becomes clear that she doesn’t want to wear a heel. Thus, I modify the ensemble."

Return to Glamorous Events

Givenchy is re-establishing itself in high-profile occasion wear. Burton has styled actor Timothée Chalamet in a pale yellow formal suit at the Academy Awards, and Kaia Gerber in a retro-inspired ballet dress of dark lace at the Venice film festival.

Schiaparelli’s Artistic Comeback

Schiaparelli, fashion’s house of surrealism, has been resurgent under the US-born creative director Daniel Roseberry. In the coming year, the Victoria and Albert Museum will host the inaugural UK Schiaparelli showcase, exploring the work of the founder Elsa Schiaparelli and the house she founded.

"Schiaparelli is not merely purchased, it becomes a collection," Roseberry remarked post-presentation.

Women who wear Schiaparelli need no showcase to tell them that these garments are artistic. Proximity to art is positive for revenue – clothes come with gallery prices, with outerwear priced from approximately £5,000. And profits, as well as visibility, is increasing. The venue for the show was the Pompidou Center in Paris, another reminder of how close this house sits with art.

Returning to Historic Partnerships

Roseberry revisited one of the most renowned partnerships of Elsa with surrealist master Dalí, the 1938 “Tears” dress which is set to feature in the V&A exhibition. "This was about revisiting the foundation of the fashion house," he noted.

The torn effects in the original were carefully rendered, but for the updated version Roseberry tore into the silk crepe itself. In both designs, the shreds are hauntingly reminiscent of skinned skin.

Surreal Elements and Menacing Charm

A touch of threat is present at Schiaparelli – Elsa described her mannequins, with their sharp shoulders and cinched waists, as her plaything troops – as well as a joyful appreciation for humor. Fingernail-inspired fasteners and golden noses hanging as ear accessories are the distinctive language of the house. The punchline of this show: synthetic fur created using brushes.

Avant-garde themes emerge across modern style. Eggshell-inspired heels – treading carefully, understand? – were highly sought-after at the fashion house Loewe. Surrealist distorted timepieces have graced the runway at Moschino. But Schiaparelli owns this territory, and Roseberry presides over it.

"Designs by Schiaparelli feature an intense spectacle which sucks the air out of the room," he stated. A scarlet ensemble was cut with a triangular piece of skin-colored netting that rested around the area briefs are usually located, in a captivating deception of nakedness. The balance between practicality and drama is a key aspect of the event.

American Creatives in the French Capital

A carousel of creative director launches has welcomed two NYC stars to the French fashion world. Jack McCollough and Lazaro Hernandez have moved on from the fashion house Proenza Schouler they established in 2002 to take over Loewe, the Spain-based leather label that evolved into a $1.5 billion powerhouse under the tenure of Jonathan Anderson before his departure to Dior.

The Americans looked delighted to be in Paris, France. Vibrant Ellsworth Kelly hues brought a joyful pop art sensibility to the cultured artistic knowledge for which Loewe has become recognized. Vivid yellow slip-ons dangled their tassels like the hem of Josephine Baker; a scarlet fitted jacket had the bold reflective shapes of a ketchup bottle. And a party gown imitating a fresh-from-the-bath towel, soft like a clean towel, captured the sweet spot where innovative design intersects with stylish enjoyment.