Roving Reporter: Koi Suwannagate

Last season Koi Suwannagate teamed up with fashionista-favourite Phillip Lim to create some of the most show-stopping dresses. If you haven't seen them, then shame on you! Koi decorated Lim's dresses with the most intricate floral applique so the models looked like walking gardens. It was truly divine.

This season, Koi alone created a much sleeker silhouette and a far more commercially viable selection of looks. The collection concentrated on easy-to-wear separates. Trousers were uber-tailored, super skinny-cut, indie-cool ankle skimmers. They were presented in a palette of white (shiny), grey, burnt orange (yes ladies, burnt orange!) and of course black.

The rest of the collection concentrated on knitwear and was a clever concoction of deconstructed pieces. Coloured and textured panels merged to create incredibly wearable items with great detail and workmanship. Perfect for any credit-crunch purchase.

We oooohed over the oversized, belted cardigan, which is top of my list for A/W buys. If we are going to continue living in one big blizzard, well I'm going to retreat into that sumptuous cardigan. It draped oh so very beautifully.

Following the oooohs, we started to ahhhhhh. Koi has taken her now infamous floral applique from her Lim collaboration (seriously, shame on you if you still haven't Googled it) and translated it for knit.

This resulted in a delicate cardigan with floral, cropped sleeves and a cute, creamy, sleeveless cardigan with dispersed floral applique and matching arm-warmers. Truly seventh heaven, and if you buy but one piece next season, it should be one of these beauties!

Again there was a tad hint at the 80s, as the red jacket/cardigan in the collection sported strong shoulders. This little number mixed knit techniques to produce yet another classic wardrobe staple that is unusual enough to avoid dating.

Finally, the one dress that crept into the collection was truly dramatic, and somewhat out of character with the rest of the looks. But as you should know, I am all about the drama. So this gothic, floor-length, lace, bat-wing sleeve number truly stopped me in my tracks. Shown here with a flesh-coloured body underneath, this is definitely not for the faint hearted. But with a black silk slip underneath and some towering heels, I'm thinking that the LBD has a new rival in town.

Now if you'll excuse me, I have some reservation lists to put my name on.

Roving Reporter : Charlotte Ronson

This is one hell of a talented family! When Mark and Sam aren't lighting up the world of music (producing and DJing respectively), sister Charlotte is rocking NYC with her edgy fashion label. It's been great to see collections by the likes of Acne and Ronson, who seem to be bringing a new vibe to New York Fashion Week.

To me, Donna Karen and Calvin Klein sum up NY fashion: simple but sophisticated, in easy to wear shades. But with these new kids on the block, the party scene is beginning to show through, and it definitely has a rock-chick feel.

As with so many collections for A/W09, there is an 80s vibe coming through. Unlike the neon trends of past summers, this 80s comeback is harder and more rock-couture than neon-pop. With black lips and high ponytails, the styling seemed to have been borrowed from the early Madonna years.

There were leather staples in the form of a well tailored, skinny blazer with matching skinny-cut trousers; the tassels of the past year seem to be sticking around again (great for the recession).

Eighties leotards (think Fame) were referenced through jersey tops with huge cut-out sections (a la Rachel Roy), teamed with high-waisted, skater skirts. I loved this look - it was so Madonna, with a touch of council-estate chic (but in a good way).

The whole collection looked like it was based on Sam Ronson's wardrobe, as the more girly pieces left the runway (maybe that was the LiLo selection). The models were then clad in tartan trousers with a slight peg-leg cut, sheer shirting and prim cardigans that were delicately studded to take a rebellious spin on the twinset.

There was plenty of print too - one of my favourite pieces was a simple black shift dress with slightly curved, exaggerated shoulders and a skeleton-like print across sections. Very wearable and little bit rock-chick couture (my preferred look).

The further I got into the collection, the more convinced I became that we are to see a switch to the darker side of the 80s this fall. Ronson sent down the most outrageous jumpsuit. It was beautifully cut. Big, 80s shoulders, nipped-in waist, slightly volumised hips and with tapering at the ankle. This beauty was definitely one of the lynch pins of the collection. While not easily wearable (after all, it was marooned-based floral print, accented with blue, coral and yellow), there was something totally lovable about this crazy look.

When Charlotte wasn't looking to the 80s, she had evidently taken her time machine back to the 20s, as there were some great 20s-deco appliques. My particular penchant was for this skirt. The look had a little bit of PPQ about it. Total grown-up sophistication and glamour, but with a hint of rebellion - which lets face it, is why we love all the Ronsons. But right now, it's all about Charlotte!

Roving Reporter: Elie Saab

Elie Saab is a true fashion genius. His dresses are a Hollywood red-carpet favourite, and it seems A-list adulation is never far away.

I have been a HUGE Saab fan for years. This Lebanese designer creates some of the most show-stopping occasion wear.

This season's couture collections were all about intricate applique detailing, mainly taking a natural form and having huge influences from flowers. Other detailing included the use of elaborate bow sculptures to make the models appear like beautiful presents!

There were chic suiting combinations of full skirts and perfectly cut jackets, shown alongside classic Oscars wear. Full-length gowns, cinched waists and impeccable detail. Necklines were gathered and silhouettes draped and bias-cut to truly another level.

Colour palette was a combination of cool hues. The show started, like Chanel, with a selection of white outfits and caramel tones, followed by powder blue and dove grey.

To add even more glamour to the occasion, dresses were embroidered with Swarovski crystals on straps and waistbands. There were plenty of asymmetric dresses, both one-sleeved and with full, ballooning sleeves.

The lines of the collection were mainly waisted, but empire lines ensured that there was a good selection of silhouettes for every body type.

One of my favourite pieces was a floor-length caramel-toned dress with large appliqued roses creeping up from the hem: a modern-day fairy-tale wedding dress.

The collection suddenly shifted to a black palette, with knee-length shifts (fully appliqued), full 50s-style net skirts and kimono sleeves and floor-sweeping gowns (sprinkled with sparkle, full on ruffles and striking bodices). This sudden shift to black felt like a token nod to the colour that seemed to be the basis for many collections throughout couture week, but one I never match up to Saab. He always reminds me more of cool colours and vibrant metallic tones. This was confirmed for me when the collection bounced back to dove grey and a golden cream for the final two show stoppers.

Naturally the last dress was a wedding dress (with a slightly jaunty-angle veil). What caught my attention though was the penultimate piece. A ruffled tier dress with a sheer bodice that only protected the model's modesty through strategically placed embroidery and sequins.

Favourite Piece: EEEEK! I don't know. I LOVE LOVE LOVE SAAB, so I was partial to a few.

I loved all the dove-grey pieces, as that's one of my favourite colours. All the floor-sweeping pieces were divine! Anything empire-line (as that's MY shape) and the waist-gathered dresses, as they are definite red-carpet ones. (Did I mention I liked Saab?)

Styling: Hair was quite messily scraped back off the face, with all models having bits of frizzy baby hair poking up. Makeup was clean. Shoes were insane! They looked like demented platform Crocs. Bizarre!

Trend: More floral, more applique, more sparkles and 3D-ness.

Roving Reporter: Chanel

Chanel, one of the most anticipated of the couture shows, could easily be described this time as 'a bit of all WHITE'. This snowy collection brought together classic Chanel looks, with fine detailing and attention to craftsmanship.

The traditional Chanel suit was brought up to date with military precision. Epaulet detailing adorned the squared-shoulder Chanel tweed jackets, while little cap sleeves were complimented by soldier-like, stand-up collars. Piping details were used to create more uniform references, giving a refreshing and modern twist to the traditional fashion house.

The box-like shoulders were complimented beautifully with more feminine dress and skirt lines that scooted out into delicate A-lines and swished as the models sashayed down the runway.

This collection had all the hallmarks of Chanel, but to me felt much more up-to-date and modern. It was almost as if Chanel were reaching out to a new generation. The futuristic feel to the cutting was reminiscent of Balenciaga's current, edgier cuts.

Black was fazed into the collection to create detailing and focus. Buttons were big, black and shiny, while white full skirts were cinched with wide, sequined black waistbands to create a 50s-style hour glass. Chic jackets and skirts had a real Parisian feel, and for the first time in my life, I really desired to buy into the brand.

As the collection continued, a more oriental vibe was drafted in, with kimono-style collars that continued into simple (but again well tailored) shifts, this time in creamy lace. As if that wasn't delicate enough, sheer white ruffles and flower appliques also decorated a multitude of occasion wear.

Necklines were a real lynch pin to the collection, and as collars changed from deep V's to wide boats and kimono style, so did their detailing. One of my favourites was a wide, stand-up boat-neck collar, entirely appliqued in silk white roses. Such beauty and sophistication, yet with a wonderful simplicity.

Skinny, ankle-skimming white trousers (not a style for everyone) were worn under dress coats, lace-sequin tunics and even skirts to create a layered and grown-up look. Gone are the days of flesh flashing - now let us leave something to the imagination! This was truly laid-back-on-the-Riviera.

Sequins continued to detail the collection, both used to accentuate key areas as well as disperse decoration. We all know the ateliers in Paris are incredible, but the fabrics Chanel sent down the runway were so entrancingly beautiful, I wondered what could come next?!

By look 47, you may forgive me for wondering what else could still happen. But to my pleasant surprise, the old faithful bow popped up. This time black and sequined, the bow belts were used as front detailing to cinch in 'the new skirt shape', which although A-line in shape and stiffly formed in silk satin, has a bizarre front tuck. Neither sophisticated nor flattering, but definitely interesting.

You may remember that bows appeared at Stephane Rolland, and so appearing at Chanel too was a nice coincidence. However, when Chanel sent down a mosaic and sequin-clad dress, I was a bit suspicious. Are there secret couture-trend meetings?! Note that fingerless gloves were also the choice of styling here . . . hmmmm.

Black now became the main colour, and full-on sequin dresses were as glamorous as anything!

I also loved the skinny, ankle-skimming black trouser worn under a futuristic-looking, sequined-black tunic dress.

By the time the look number reached 53, I was beginning to lose count of where I was. So many dresses, and I now feel like I am waffling!

Monochrome prints (white-silk base, black petals) were formed into some beautiful and sculptured dresses, full of drapes and pin tucks and deliciously delicate ruffles. The floor-length versions were by far my favourite. But this is currently rivalling a place in my heart with polka-dot, 40s style dresses (where the over-sized, tear-shaped polkas were created through strategically placed sequins - Lagerfeld is a G-d!).

Finally, the last selection of dresses were of course couture's famous wedding-inspired gowns. The very last was short at the front (with skinny trousers) and had a train so long that a male model was on hand to follow the model down the catwalk.

And with that, Karl Largerfeld did his lap of honour to the ecstatic fashion press.

Favourite look: The teardrop, polka-style, floor-length dress. Simply cut, extremely elegant and quite ingenious.

The detailing /trend: Floral! Intricate flower sculptures and appliques. Sequins, their timeless glamour, with an extra little bit of magic.

Styling: Headgear, again floral hair tributes, flower sculptures and bonnets, oversized,

Very SATC. Little fingerless gloves a la Stephane Rolland.