I’ve been following the fashion weeks – thanks to the miracles of modern technology – for something like 15 years now, maybe 18. I must admit that the thrill is no longer quite the same as in the early days and there seem to be more shows and less fashion every year, but I always come back for more.

This season (or the next, really, as fashion is always 6 months ahead of everybody else) was one of the more exciting ones, though. Things look to be shaken up a bit, especially in Paris, where almost everybody seemed to produce their best show in years. My post is not comprehensive by any means, but I’ve picked out some shows that I thought relevant for the future of fashion and some that I simply personally liked. If you truly want an overview, you cannot really leave out Dior, Louis Vuitton, Celine and Chanel, despite the fact that Lagerfeld has been presenting under-edited and over-produced vanity spectacles for years.

In terms of crystallizing the trends, the stand-outs for me were Gucci and Vetements, representing two completely different concepts. I have written about Gucci’s vintage geek chic already and don’t have much to add. As I said then (in the comments) – most customers do not wear the full-on Gucci look, but break it down into manageable pieces. At the same time, if you DO want to achieve the same look, it’s easy even if you cannot afford Gucci, as it’s mostly about the styling and the attitude. This is one thing I love about this new mood – the luxurious austerity of Celine that has reigned for the last seasons is very difficult to do on a budget, as it depends so much on the cut and quality of the fabrics.

Vetements has a similarly democratic attitude, but it is both more fashion and less establishment than Gucci. And it of course looks completely different, with those strange, oversized shapes and lack of cuteness. Vetements is the coolest thing on the Paris scene right now (well, the true trend-setters have of course moved on already) and the appointment of their front-man Demna Gvasalia as the artistic director of Balenciaga has done nothing to decrease the hype. It’ll be very interesting to see what Gvasalia will produce for that iconic fashion house.

There was a romantic mood in several collections, too, best done at Alexander McQueen. Sarah Burton will never mean the same to me as the late designer himself, but there is no doubt that she is an extremely talented designer. This was one of her best collections to date, the long dresses (both the demure and see-through variety) were simply divine. Erdem’s “madness-in-the-Prairie” collection was similar in tone and similarly beautiful; the delightfully nerdy Rodarte sisters had the dreamiest dresses on the other side of the Atlantic.

Two of my favourite intelligent eccentrics, Dries van Noten and Heider Ackermann showed wonderful fabrics and great sense of colour, as they always do, but even more so. I loved Noten’s brocades and silks in rich pink, ochre, teal and gold and Ackermann’s weird pastels – a departure from his usual rich tones. The delicately punky blouses and slip-dresses were new for him as well, but an amazing addition to the canon.

I am not necessarily the biggest fan of Marc Jacobs, but this time, his cheerleader/filmstar/party girl ambiance was truly fun and zeitgeist-y. He also came up with my favourite make-up look: clumpy lashes, uneven blue eyeshadow and faded berry lips. Sure, it’s not flattering in its’ pure form, but works brilliantly as an inspiration for modern, rough glamour.

If you prefer your clothes more conventionally beautiful, the other star of the NY fashion week was Peter Copping with his debut at Oscar de la Renta. The collection looked almost eerily de la Rentaesque to me, with some truly stunning pieces. Who wouldn’t like a pale blue ball gown with black ribbons? Well, a Vetements customer, possibly, but it’s good to have options.