Toni Maticevski, the Australian designer we featured here, is back with another standout collection for autumn. The largely monochromatic presentation (with one pale blue confection thrown in for good measure) included delicate spiderweb embroidery, deconstructed and recycled denim that turned up as patch pockets or sleeveless tops, asymmetrical knits and yards of tulle and organza. 

Another milestone anniversary for a design house, this time the 20th for Reem Acra. Here she showed structured, elegant shapes in rich, tapestry-like fabrics that were covered in embroidery. The  resulting maximalist mix of textiles and textures was pretty striking. Icons featured heavily including a heart shape that was affixed prominently to the chest and, at one point, was literally dripping with jewels, and the all-seeing eye of the hamsa.

Dice Kayek showed sleek, well-tailored pieces that had a celebratory feel. Fitting perhaps, as this collection marked the 25th year anniversary of the line. Designer Ece Ege welcomed us to the party with gilded touches and prints that were reminiscent of fireworks. There was much volume on sleeves, coats, blouses and skirts, all of which were precisely tailored. Ege included a range of looks: a Prince of Wales check employed as a trouser suit, separates in green wool and distinctive black or navy cocktail outfits designed to ensure that the party will carry on well into the evening. 

A very masculine, largely black collection from Haider Ackermann that focused on texture in the form of Mongolian lamb skirts and culottes rather than colour and pattern. The silhouette was structured, long and clean while shoulders were bold. Gold strands - one of the few decorative elements - acted as the unifying theme and reminded us of kintsugi, the Japanese art of repairing items with gold or other precious metals.

We love the play of texture and print found in Rahul Mishra's collection where stripes were combined with windowpane check and of sunflower and fruit embroideries added detail. Traditionally masculine fabrics were feminised by the use of ruffles and layers. Mishra employed Indian artisans who created handwoven textiles and covered his designs in beautiful embroidered scenes including images of the night sky in slow motion and Paul Signa's "The Pine Tree at St Tropez".

1980s power dressing was reinvented for a new era by David Koma at Mugler. This came in the form of suits and separates, often with hugely exaggerated shoulders, which gave the models a top-heavy appearance. The star motif from the house's best-selling 'Angel' scent was a recurring theme and we liked it best when this was used in abstracted form on mini skirts and dresses. The star motif also showed up on buttons, studs and shoes and was translated into the pointed shoulders, angular lapels and the pleating found on skirts. The final effect was strangely rather futuristic.

There was a very real world mix of masculine and feminine with Johanna Ortiz's collection which we would wager is how many women who don't have the opportunity (or desire) to wear a gown on a daily basis prefer to dress in real life. The pairing of a higher-end statement piece which, in this case, meant Ortiz's pretty shirting and striped blouses with statement sleeves which were often attached to a bodysuit, combined with something as dressed down as denim worked really well. We liked the floral prints and the palette, the Colombian designer's signature ruffles and bows and the cut of the menswear-style trousers. There was some pyjama dressing which we haven't seen much of this season, and another item which has turned up a lot less frequently on runways than we had initially anticipated made an appearance: several political statement t-shirts were thrown in for good measure.

A touch of mysticism from Manish Arora whose clothes were a cacophony of colour and constellations. Arora showed very few trousers and most skirts were midi length or longer. They featured kaleidoscopic embroideries, Swarovski crystal embellishments, psychedelic digital prints, hand-cut velvet and boiled wool patchwork. Although the collection was called 'Cosmic Love', the heavenward gaze had a distinctly tribal feel - the clothes were accessorised with modified turbans and spiked collars - which brought it back to earth.

Simple but well-cut clothes with a 1940s feel from Alessandro Dell’Acqua at Rochas. The spare silhouette, often featuring an empire waist, was adorned with multiple bows, lace inserts, high-necked frilled collars and basket-woven leather skirts and coats. There were also some heavier coats and dresses in a floral print on a dark background and long, body-conscious dresses with a leaf print. Dell’Acqua featured the initial 'R' on everything: it turned up in crystal on pointy-toed pumps, belts, brooches and bags and was embroidered on sweaters and cashmere knits often as a mirror image. Shoes were worn with knee-high, sheer stockings. There was little drama overall, but the show closed with a high shine, gold fringed look. 

Let's hop over to Paris for the last week of shows this season and start with this collection from Vera Wang who, like Roberto Cavalli's team, showed clothes that should be classed more as demi-couture.

Wang's collection comprised a balletic black, white and gold swan theme and was presented as a film. It featured structured capes, peplums and lampshade dresses paired with long floaty gowns, and high-impact gold feathered breastplates. Set in a grand Parisian salon, it harkened back to the designer's past as a young dancer. This is the first time Wang has shown in Paris and comes just as she is due to receive the rank of Chevalier in the Ordre National de la Légion d’Honneur, an award that was established by Napoleon Bonaparte in 1802. Wang took inspiration from the Musée de la Légion d’Honneur and included Napoleonic pieces in the form of military jackets, embroidered patches in bronze and silver featuring the fleur-de-lis, bees and eagles.