Marc Jacobs knows how to dress women and under his direction they are always strong and sensual creatures. He also knows how to carry a theme. When Edie Campbell stepped out onto the catwalk sporting a black, cropped 50s wig, dark, sculptural make-up and a long, printed housecoat we knew we were in for another thematic journey. Models each exited from hotel room doors alluding to wealthy women that swans around at their leisure in silk and lace nighties and negligees, or perhaps his intention was to allude to the tainted woman who leaves a hotel room after plying her trade. The models were certainly made to look rather 'hard' which gave the impression of women that had had to work or at least who had not had the easiest of lives - or perhaps they were just wearied by their frightfully rich but terribly dull husbands. 

Floral silk nighties and pyjamas were paired with thick overcoats, some of which resembled luxury silk dressing gowns, these were paired with indulgent fluffy handbags. Sumptuous velvets were used to add a sense of more formal evening wear to the night-dresses. Beautiful plaid coats had the appearance of having been dip-dyed in sequins, similarly skirt suits had their jackets dipped in them and mohair tops were heavily embellished with them at the waist. 

Coats then became very luxe affairs in pastels, plums and dusky blue silks with a soft fur lining and delicate print on the shoulders - giving a sense of a royal courtier's attire. To finish, the collection gave way to thick herringbone dresses woven with glittering thread and sheer, embroidered negligees - sported by none other than Jacobs' golden girl, Kate Moss. There was certainly something for every woman and something for all seasons. Jacobs himself took his bow wearing a pair of pyjamas from the recent men's collection. Perhaps to encourage us that a life well-lived was one in which you never get dressed. 

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There is something about Riccardo Tisci. He possesses that magical quality that turns ordinary objects into celestial pieces - especially in the eyes of the fashion crowd. Never has anyone caused such lust over an everyday object as Tisci has caused over the sweater. It has become his staple over the last few seasons and this season it was reincarnated with an unlikely print of Bambi - which will no doubt spawn hundreds of imitations lower down the fashion food chain. The sweater then took an unlikely turn, it then appeared constructed only out of black lace – still with the same print. Then it was back to sweater form but with disco-glittered sleeves. Sweaters then morphed into zip-up sweater jackets, but of course these were no ordinary hoodies! They were constructed in the finest chiffons and printed with burnished paisley. 

Sweaters and jackets were paired with fishtail skirts in silk and chiffon. Paisley turned into rock and roll flames and the 

prints on the sweaters took a turn into rock album covers and tattoos. Interspersed between this were intricately woven tailored jackets cinched with waspies – the jumpers were cinched with spider clips. 

As 'evening' rolled on skirts grew longer, frills became more numerous and a more romantic mood descended. An unmistakable gypsy element crept in. Tisci described himself after the show as being like a gypsy whilst creating the collection, taking inspiration from childhood memorabilia, recycling influences and ideas from different eras in his life. Clearly all of those influences have culminated into this season's presentation - Tisci at his best, confident, rebellious and unpredictable. 

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by Nicola Kavanagh

Hedi Slimane has famously moved the Saint Laurent design team from its birthplace in Paris to California but for one night only California came to Paris. Supermodels were turned into hip LA girls in nostalgic babydoll floral dresses paying tribute to Kurt Cobain with their slouchy plaid jackets. Hanne Gaby Odiele opened the show in a black sheer party dress with gold leopard print paired with a check mohair cardigan – this was a clear sign that we weren't in Paris anymore. Leather bikini tops matched with leather mini-skirts and black overcoats followed, interspersed with vintage-esque party dresses and more leather and plaid. 

Slimane’s woman of the season was an undeniable rock chick – no great surprise as this is known to be one of his favourite aesthetics. Models had the appearance of having stayed out all night to party and were only now walking home in the early LA sunrise, enjoying the freedoms of being young, cool and beautiful.

There were certainly more than a few guests in the front row that could relate to that. “That’s how I dress anyway” was the chorus line of the likes of The Kills’ Alisson Mosshart and Saint Laurent face Sky Ferreira – who Glass magazine featured in our very first issue, precisely three years ago this month. And just look how things have changed since then. This was certainly not what you would expect from a Saint Laurent show, but perhaps that was Slimane's intention, to take us completely by surprise.Whether or not clients that live outside of LA will be able to connect with grunge and all-night parties is another matter but what is fashion if it's not meant to be challenging? 

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by Nicola Kavanagh

Could there have been a more heaven-made match than Raf Simons and Christian Dior? The directors at LVMH must surely be patting themselves on the back for their smart decision making here. With his minimalist history he wasn't the most immediately obvious choice but his understanding of the house of Christian Dior and his sympathetic inclinations to Dior himself have allowed him to find a divine synergy with the master. What Simons presented this season was a display of utter confidence in himself and and comfort with his creations. 

The clothes simply oozed the effortless elegance which Dior himself had set out to create. Clothes that made icons out of everyday women. There was no trace of ostentatious ambition or tired re-branding of the the house motifs, just wonderful design and fresh invigoration. Such as the simply cut woollen jackets finished with oversized bows in the same fabric at the neck or the bandeau dresses which had their fabric gathered skillfully at the hip to lend a couture like feeling. Simple dresses were adorned with prints of early Warhol drawings, who knows if this is something that Dior himself would ever have thought of himself but the man was a lover of modern art and would probably have been tickled pink by the playful addition. And simple trousers suits were given an extra kick at the waist to echo the 1950s 'new look' Dior achieved notoriety for and the famed balloon-cut coats made more than a few appearances.

The evening wear was elegant, refined and not overly sensual. The famous black and white hounds-tooth check was applied to skintight bustiers paired with pencil skirts with just a touch of feminine flourish - a slight ruffle of chiffon here or a touch of crochet there. Simple black silk and chiffon dresses were adorned in more colourful sketches and other dresses were simply black and white fabric beautifully intertwined to give a sense of  quiet drama. All in all the collection was a masterclass in how to take a label and make it your own whilst retaining the affection of the legions of fans that the house of Dior has amassed over the years. And those who are lucky enough to have inherited an original heirloom will be delighted I'm sure, to be able to add a contemporary piece that can sit harmoniously alongside its older sister. They are almost, after all, cut from the same cloth. 

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Alber, Alber, Alber, in how many ways dost though pleasure us? The Lanvin show is always a treat. Alber Elbaz's 

impeccable taste and masterful understanding of what looks good on a woman make the collection an utter pleasure to look at. Elbaz has earned the house a cult following and rightfully so. His pieces are uncomplicated, unfussy, simply breathtaking clothes. He has also wholly mastered the art of making women appear incredibly sexy in very simple and modest creations. A slight exaggeration here, a fluttering of detail there and with sleight of hand he makes the most simple dress jaw-droppingly sensual. 

The theme for this season's Lanvin show was... well there was no theme. But this is Alber Elbaz and does he need a theme? Certainly not. The opening look was a black brocade silk, just-below-the-knee dress with a flamenco dancers flourish of ruffles. The dress was accompanied with necklaces saying 'help' and 'happy' - two of Elbaz's favourite words he announced after the show. For Elbaz, each collection starts with a word or several words that he contemplates and builds his collection around. Other prominent words which featured in the show were 'love' and 'cool' but Alber admitted to abhorring the latter. 

Back to the collection and Elbaz stuck to the signatures that have served him well; artfully swathed and pin-tucked silk skirts and dresses, fine chiffons in coffee and cream ruffled into exquisite blouses and skirts, dresses with their seams and underpinnings showing as though they were inside-out, raw-edged hemlines, black leather gloves - which add just the right amount of severity and of course, strong shoulders. 

Every look in the collection was as unique as the model wearing it; not part of an evolving theme or message, just strong individuals in their own right and the hair and make-up reflected this. In an unusual move, models did not come down the catwalk all sporting 'the look' of the season, each one's make-up a carbon copy of the last. The models in Lanvin's show were individuals with the make-up adapted to suit their own personal strengths. Lindsey Wixson wore a thick, smokey eye, Saskia de Brauw had almost no eye-makeup whatsoever but just a strong slick of mulberry lipstick to polish her tomboy looks. This show was all about individuals, real people with opinions and thoughts of their own and these women don't want to look like everybody else. It was about strong women who need intelligent clothes to do them justice and who better than Alber Elbaz to help them achieve that. 

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Balenciaga has to be one of the most fascinating houses in fashion. Cristobal Balenciaga himself was hailed, even by rival designers, as one of the greatest couturiers that ever lived and his designs are held up as the epitome of grace, elegance and class. Spanish born Balenciaga held his first runway show in 1937 which was celebrated by the press as a 'revolution' and during World War II customers and journalists alike risked life and limb to view his clothes. It wasn't until after the war though he showed the full extent of his ingenuity and did the unthinkable - he did away with the waist. For hundreds of years women's fashion had centered on the waist and the hourglass figure but Balenciaga's 'balloon' coat and tunic dresses were the first to say clearly that the waist was not the be all and end all of a woman's figure. Thus he gave birth to the concept of forms and lines and how pieces should sit on or around the body rather than trying to manipulate it. 

Balenciaga was famously defiant of the fashion system and in 1957 he announced that he would be revealing his collection only one day before the clothes went on sale, rather than the standard four weeks, due to fears over copying. He also had numerous disagreements with the 'bourgeousie' Chambre Syndicale de la Couture Parisienne and as such was never actually granted 'Haute Couture' status. 

It is fitting then that such an enfant terrible of a designer would leave a house that attracted the most unconventional talents. Following the departure of Nicolas Ghesquiere there was much speculation as to who would be capable of filling such shoes. When it comes to Balenciaga there is an almost mythological power that seems to place the house above simply having 'bad' shows or 'good' shows. Shows are 'intellectual', 'challenging', 'groundbreaking' or 'remarkable'. Things that might have seemed dull elsewhere are exceptional when presented under the magical quality of the Balenciaga name. 

And so there was a huge amount of pressure on the twenty-nine-year-old Alexander Wang when he was announced as the company's new Creative Director. What could this young New Yorker bring to the most esteemed French house of all time? Well, it seems, quite a lot. 

Die-hard fans of the original Balenciaga lines will have been thrilled to see a collection that went straight back to the spirit, wit and intelligence of Cristobal himself. Apparently Wang was only able to start working on the collection a mere eight weeks ago but from the opening look one could instantly feel that he was a perfect choice. The meticulously cut coat which opened the show shaped itself so wonderfully around the model's body that Wang's flair for tailoring was immediately obvious. His clever use of fabric, cuts and shapes created a fresh and exciting collection. Contemporary yet timeless with playful surprises thrown in such as a black tops which appeared relatively tame from the front but at the back parted to reveal a cracked marble effect underneath and what appeared to be a metal brassiere. 

Wang's experiments with fabrics and prints were truly exciting and hinted to a great deal of talent that is sure to reveal itself in the coming seasons at the house - no doubt even more so when he has been able to have the full amount of time usually allotted to creating a collection. The big question of course is, what would Cristobal himself have thought? The collection took a lot of creative licence with the house's signature motifs and there was rather a lot of 'waist' present in the show but Cristobal, like any genius was full of contradictions and loved a good rebellion. So chances are he would have given a quiet, not too indulgent, nod of satisfaction and, who knows, maybe even a slight smile. 

Opulence and Christianity were the overarching themes of Dolce & Gabbana's A/W 13 show; an ironic, although very realistic, partnership. Christianity has always preached modesty and thrift but when you look at its biggest proponents, the wealth on display has always been quite staggering. The direction represented a very refreshing change in the air for the two men, who must have designed over 120 collections - both men's and women's - in their 30 years together. Their collections could certainly never be described as dull but it was nice to see them explore new references rather than the tried and tested (albeit highly commercially successful) Sicilian widow look. 

The opening looks were resplendent with colourful prints of early Orthodox Christian mosaics and outfits were completed with jewelled gold crowns and crucifix shaped earrings and pendants. Religious motifs have always provided, quite literally, the spiritual playground for the two men but in this collection the beauty and naughtiness was truly at its zenith. Speaking of naughtiness, it doesn't come much more risque than a fine silk tunic top beautifully printed with the image of a martyred saint, accessorised with bejwelled crown and crucifix earrings then paired with nothing more than a pair of black lace panties - unless you count the jewelled clutchbag. 

The collection then moved quite suddenly into austere black and white fine boucle long skirts and jackets more befitting of a very stylish secretary in the 50s - but cheekily, she was still wearing her crown and crucifix. The collection then dipped its toe back into the religious iconography before moving onto the house favourite - lace! The collection culminated in a dazzling array of bejewelled red lace dresses before climaxing with a wave of stunning gold mosaic looks. 

Even after 30 years in the business the boys show no signs of slowing down or losing touch. There was not one piece from this collection that wasn't utterly desirable or fun and that is the most you can ever ask from fashion. 

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Heidemarie Jiline 'Jil' Sander can always be relied upon to deliver a spartan yet pristine vision of how we should look from season to season. One of fashion's great intellectuals, Sander rose to fame in the 1980s with her precisely cut trousers, slim-fitting shirts and masculine cut coats. Usually in grey, navy, beige, black or white, these suits were pioneered by the female execs of the era who did not want to sport the Dolly Parton-esque 9-5 look of poodle perm and caricature shoulders. 

Jil Sander's collections have come a long way since then and she has since become one of the most revered names in fashion, and yet a lot of the elemental themes remain. Opening the show was a long, navy, precise and masculine coat paired with Quaker style black shoes with a large buckle - few designers would have the confidence to present such unabashed simplicity. Models looked austere with hair pulled back so tightly it gave the impression of a shaven head, perhaps to make one appreciate the natural beauty and sculpture of their faces. 

Not unlike Bottega Veneta's Tomas Maier, Ms Sander opts for simplicity in form with a focus on the technical mastery and tailoring skills of her atelier. Wave after wave of felt pieces in maroons, greys and navy displayed her love of the perfect cut. But particular highlights of the show were when she delved out of her usual comfort zone - a puckered black leather dress, a shimmering oil-blue pony-skin jacket and a black bandeau evening dress with a flash of gold were stunning. But it would have been nice to see a little more of these hints of excitement in our dull and dreary times. 

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Bottega Veneta has come to 'own' the adjectives sleek and sophisticated. Tomas Maier, their creative director has become a master of the understatement and never fails to each season present something so utterly exquisite yet simple that you wonder why nobody thought of it before. 

Raquel Zimmerman opened the winter '13 show with a look that said it all; ravishing curls, a 1940s side parting, a slick of black eye liner, deep red lips and a black coat. This was all woman.  But this was not your average black woollen coat. This was wool worked by the hands of a master. Gentle pleats and ripples were meticulously placed and ingeniously built up to subtly turn the wearer into an Glamazon; all powerful shoulders and small waist - cinched by a simple and curiously uncoordinated ribbon. On her hands were black leather gloves and on her feet, plain, black lace-up shoes that reminded one of a governess. The over-all effect? Incredible.

The show then turned into a masterclass of just what you can do with simple black wool when you have the skill of some of Italy's most highly specialised tailors led by one of the most intriguing design minds of recent times. In a recent interview with Glass, Maier spoke of "The need for creative collaboration between artisans and designers to keep craftsmanship alive and relevant." And today's show was a shining example of the fruits that such an intrinsic partnership can produce. 

Black gave way to white dresses which appeared as though they had literally been painted by artists with splashes of crimson red as though they were a canvas. A shocking crimson coat with exquisitely cut 'origami' shoulders was so divine in its simplicity that one almost had to laugh. So many search for the secret to fashion and create all sorts of oddities in the process yet here was the pinnacle of majesty in such simple form. 

After yet more lessons in form and tailoring the collection moved effortlessly into evening wear with pin-tucked satins and beaded black dresses. But there was nothing ordinary or 'usual' about these dresses. Maier possess the innate ability to create items that are completely contemporary and yet timeless, reminiscent of works of fine art. And just like works of art,they will  no doubt find themselves the subject of a major exhibition one day. 

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