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On the very same day as the pop star Taylor Swift, Sarah Burton embarked on her Showgirl period. In her second collection as the creative director of Givenchy, Burton heightened the intensity with collars embellished with shimmering stones over collarbones, luscious peach maribou feathers, a pocket-rocket cocktail dress in vibrant red leather, and supermodel Naomi Campbell in a tailored tuxedo blazer draped over a barely-there lace trim bra.

Forging a Unique Path

Burton's role at Givenchy less than a year, but the longtime associate of Alexander McQueen has quickly defined a distinctive character for the brand and for herself. The Givenchy label, the spiritual home of the actress Audrey Hepburn and the classic LBD, has an immaculate bloodline of elegance that runs from Paris to Hollywood, but it is a smaller player as a business. Earlier creative directors had largely embraced casual styles and utility-coded metallic accents, but Burton is bringing back the allure.

"The goal was to create something provocative and alluring and to expose flesh," Burton explained following the presentation. "To strengthen women, we often reach for masculine codes, but I wanted to explore women's emotional depth, and the act of dressing and undressing."

Subtle seduction was evident, too, in an evening shirt in supple white leather. "Each woman is unique," Burton stated. "At times when selecting models, a model tries on a garment and it becomes clear that she doesn’t want to wear a heel. So I change the look."

Reclaiming the Red Carpet

Givenchy is rebuilding its presence in celebrity event attire. Burton has styled actor Timothée Chalamet in a soft yellow tuxedo at the Academy Awards, and model Kaia Gerber in a classic ballerina-style gown of dark lace at the cinematic event in Venice.

Schiaparelli’s Artistic Comeback

The fashion house Schiaparelli, the surrealist fashion label, has been experiencing a revival under the American designer Daniel Roseberry. The following year, the V&A will host the premier British exhibition on Schiaparelli, exploring the work of Elsa Schiaparelli and the house she founded.

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

Women who wear Schiaparelli require no exhibition to tell them that these garments are artistic. Connection with the art world is positive for revenue – garments carry art gallery price tags, with blazers beginning around £5,000. And revenue, as well as visibility, is increasing. The location of the presentation was the Pompidou Centre in the French capital, another reminder of how intimately this brand is linked to art.

Revisiting Iconic Collaborations

Roseberry reexamined one of the iconic joint efforts of Schiaparelli with Salvador Dalí, the 1938 "Tears" gown which is set to feature in the V&A exhibition. "This centered around revisiting the foundation of the house," he said.

The “rips” in the original were painted on, but for the modern iteration Roseberry cut into the crepe silk itself. In both, the rips are eerily suggestive of stripped tissue.

Eerie Details and Playful Threat

A hint of danger exists at Schiaparelli – Elsa described her mannequins, with their angular shoulders and tailored waists, as her miniature army – as well as a cheerful embrace of wit. Nail-shaped buttons and golden noses hanging as ear accessories are the iconic symbolism of the label. The standout feature of this event: faux fur made from paintbrushes.

Surrealist elements appear throughout contemporary fashion. Broken-egg footwear – treading carefully, get it? – were a sellout at the brand Loewe. Dalí-inspired melting clocks have appeared on stage at the house of Moschino. But Schiaparelli leads in this area, and Roseberry oversees it.

"Designs by Schiaparelli feature an extreme drama which sucks the air out of the room," he said. A scarlet ensemble was sliced with a triangular panel of nude-hued fabric that was positioned approximately where a pair of knickers should, in a head-swivelling illusion of nakedness. The tension between wearability and theatre is integral to the presentation.

US Talents Take on Paris

A merry-go-round of designer debuts has introduced two New York favorites to Paris. Designers Jack McCollough and Lazaro Hernandez have departed from the fashion house Proenza Schouler they established in 2002 to lead Loewe, the Spanish leather goods brand that grew into a $1.5 billion powerhouse under the direction of Jonathan Anderson before his transition to Dior.

The Americans looked delighted to be in Paris. Bold colors inspired by Ellsworth Kelly brought a cheerful pop art vibe to the cultured artistic knowledge for which Loewe now stands. Bright yellow loafers dangled their tassels like the fringe of Baker's costume; a crimson peplum blazer had the confident glossy contours of a ketchup bottle. And a cocktail dress masquerading as a fresh-from-the-bath towel, fluffy as a freshly laundered bath sheet, achieved the ideal blend where innovative design intersects with stylish enjoyment.