We have a love-hate relationship with Prada. While we recognise the importance of the brand and its role as a trendsetter, we are often left underwhelmed by the actual collections. Sacrilege we know. 

This collection honoured the militant woman, and therefore it made sense that the tailoring - in the form of beautifully cut jackets and coats - took centre stage. These were shown with or without sleeves and in double- or single-breasted versions and included a gorgeous tweed coat with embellishments across the chest and on the shoulders. We also took note of the shiny plastic polka dotted Macintoshes. Arachnids crawled over chests and could be found on jumpers and vests. One obvious recurring theme was the use of cartoons and manga by female artists that were screen printed over shirts, some of which were worn backward or buttoned up the back. As with all of her collections, there was a lot to unpack from her use of textures to prints (be they zebra or leopard spot) to embellishments, none of which in theory should go together, but by some form of strange alchemy managed to.

In return to the 1980s and the days of power dressing, stripes met sheer layers in this exuberant collection from Fendi. A few of the dresses featured a rambling, abstract floral but most mixed bold lines and layering. For the most part, the looks had cutouts at shoulder and chest. There was also a return to the days of conspicuous consumption with the prominent placement of the Fendi logo on coats and bags.  If this collection is anything to go by, come Spring the Fendi woman will be ready for business.

Alberta Ferretti opened the show with maillots in unassuming black. The bodysuits were an inauspicious start to a fairly expected collection that consisted of draped dresses with Grecian influences, but deep cut necklines and exposed torsos provided these floor-length gowns with a modicum of interest. Slouchy knit dresses and separates followed, but the real showstoppers consisting of subtly coloured chiffon dresses embellished with feathers, evening separates (shorts provide the most comfort without sacrificing style) and lamé trousers brought up the rear. The looks were completed by lightweight nylon windbreakers - the perfect thing to stave off those Spring showers.

We were early fans of Mary Katrantzou who generated so much excitement when she debuted. Her designs were noteworthy if not groundbreaking at the time and when a new designer emerges that strongly off the block with an identity that is fully-realised, they can run the risk of becoming cliché. For several seasons we feared this was the route Katrantzou was taking, but recently she appears to be making a concerted effort to move out of the comfort zone that saw her repeating her mirror-image digital prints in various permutations. She has course-corrected, bringing a freshness and new direction to her collections which were previously heavily reliant on her old tropes.

For Spring 2018, Katrantzou opened with voluminous dresses and skirts and then moved on to woven column dresses with fringed hems. In a collection that referenced air and lightness (bags were inflatables) and was inspired by childhood, these silky parachute skirts and dresses were not short on volume. There were still some digital prints, but they were countered by the use of stripes which, together with her choice of technical fabrics and the use of bungee cord fixtures at the neck and waist, added athletic touches. In addition to the paint-by-numbers prints, Katrantzou's standout pieces included neoprene dresses that were embellished with tiny, plastic Hama beads. The beads provided texture and interest and proved to be a more clever way of creating the check pattern that is being evoked everywhere this season. The show closed with pretty dresses in oversized broderie anglaise.

This deceptively simple collection of ombré layered, hand-tied and draped pieces was presented by Phoebe English for Spring 2018. The limited collection consisted of monochrome wrapped tulle and cotton clothes that were tucked and folded.

This far-from-basic black, gender-fluid collection from Neo Design was saved from boredom by the use of layering, cutouts, and tonal textural elements such as the rope-like embellishments that wound their way around the body.

Hands as a motif showed up in a number of collections leading us to believe this micro trend may become a macro one over the next few months. Nowhere was this theme more obvious than at the Triinu Pungits show where models were literally enveloped in arms and hands bestowing on them virtual hugs as they navigated the runway. Using a strictly monochromatic palette ensured continuity between the different looks which veered from printed bodysuits to open fronted, relaxed coats, to slouchy sweaters with ubiquitous frills on the sleeve. 

Edeline Lee stuck to a limited palette of neutral beiges, greys and a pink just a shade darker than the ubiquitous millennial. Frills, which have been so popular this season, graced the shoulders of sweaters and sleeves. The collection was unadorned for the most part, so these textural elements were an important way of adding interest. There were a few structural and tailored pieces including a double-breasted jacket and trench coat. Buttons, another feature that keep reoccurring in the Spring collections, also provided some colour contrast and embellishment on an otherwise unadorned collection that included simple shirt dresses, flutter sleeves and flared skirts as well as delicate smocking on blouses and dresses. Our favourite looks included long trousers tied at the ankle that were paired with a sweater with oversized bows on the shoulders.

Pretty volume in coats and dresses embellished with floaty feathers and pleated hems were the theme at Sharon Wauchob who went big for Spring. Cocoon-shaped dresses and coats in gabardine and metallic fabrics were the standout items as were prettily toile printed and pleated dresses. Asymmetry was also prevalent with off-centred coat openings and a scarf-like element that turned out to be an exaggerated collar. Feathers were used often, either exuberantly covering dresses or more subtly peeking from hems. 

A largely impractical but visually stunning collection from Gareth Pugh that was more sculpture than fashion. Presented as part of a movie screening, Pugh showed a series of blood red, ink black and brilliant gold pieces that were structurally severe and very powerful.