Paris Couture AW 2012-13: Wednesday

You can always count on Elie Saab if glorious, shimmery dresses are what you're looking for - the designer is well-lnown for his red carpet-ready cocktail dresses and evening gowns - and he certainly didn't disappoint this couture week.

The pastel shades seen earlier this week at Dior and Chanel were seen once more, embellished here with intricate lace, beads, and crystals. Everything shimmered, from the dramatic black gowns that opened the show to the ethereal nude ones; but this wasn't just a procession of sparkly princesses. Long sleeves and high necklines made this collection elegant and refined: more Fabergé egg than Big Gypsy Wedding.

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Jean Paul Gaultier's couture collection was characteristically dramatic and disparate; differing themes were held together by a fiercely decadent thread.

We were introduced with tail coats, top hats and cravats evoking cabarets and the Belle Époque; tuxedos were mutated into jumpsuits crafted from sumptuous velvet and accessorised with leather and sheer layers. There were elements of burlesque with risqué flashes of flesh; flapper-style fur, fringe, and beaded dresses were mixed up with geometric and Art Deco prints. Gaultier delivered a typically over-the-top theatrical show, full of opulence with a myriad of thematic points.

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Maria Grazia Chirui and Pier Paolo Piccoli, the joint creative directors for Valentino, emphasised the poise and modesty of their beautiful gowns by sending their models down the runway with no jewellery, scraped-back hair, and minimal makeup.

This regal elegance was shown in the emphasis on rich blues rather than the fashion house's customary red, which made just a brief appearance towards the end of the collection, only to be replaced by blue again. There was an underlining sense of calmness and sobriety here: each piece seemed understated, luxury making itself heard through the exquisite tailoring and sumptuous materials.

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Paris Couture AW 2012-13: Tuesday

Karl Lagerfeld titled his morning couture show for Chanel 'New Vintage', and throughout the collection throwbacks to Coco were fused with futuristic detailing. Elegant tweed suits in muted shades of mauve and pink were matched with sparkly lurex tights (the likes of which I hadn't seen since my primary school discos!) and shiny elbow-length fingerless gloves.

Karl's characteristic playful tone was evident throughout, notably in the pink pompom-embellished gown, and paired with that typical couture excess: tweed Chanel beanie hats, anyone? Amongst the bling there were some prim and proper elements: pretty loose bows, balloon sleeves, and the ubiquitous peter pan collar.

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The Armani Privé collection continued this idea of fusing the brand's heritage with futuristic twists. Here, Armani's signature elegant tailoring was to be found in slouchy trouser suits, but Philip Treacy's angular headwear added elements of futurism.

Armani's theme of contrast was found throughout the collection: fluid pastels were matched with inky blues and blacks, and soft black velvet with shiny and sparkly metallics. Armani fans will delight in the relaxed tailoring, but the romantic and embellished full-length gowns stole the show for me.

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Riccardo Tisci's collection for Givenchy was on another planet entirely. Although only ten outfits appeared (compared to Armani and Chanel's fifty plus), each item was created with such breathtaking detail that it was beyond difficult to select my favourite pieces. The collection reminded me in turn of the fierce female warriors and poised princesses of mythology and fantasy: tough, strong, and powerful.

You can see the pure talent and painstaking diligence that has gone into all these pieces: embroidery, dip-dying, beading, fringing and laser-cut leather all combine into something incredibly magical and theatrical. It will be interesting to see how and if the high street attempts to recreate such artisanal detailing.

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