Inspired by space suits, Lagerfeld sent a range of structured, high-colour dresses and tops in metallic hues down the catwalk. Astronaut prints adorned airy dresses and boyish sweaters, and there were some sharply tailored sparkly numbers in electric red and violet paired with bejewelled headbands and glitter boots.

The collection’s styling had a flair reminiscent of Brigitte Bardot in the 1960s, which added some retro spin to Lagerfeld’s bourgeois outing.

At Moncler Gamme Rouge’s autumn-winter 2017-18 show, Giambattista Valli wasn’t sending his girls to the moon, but keeping their feet firmly on the ground. Valli designed a collection which was tailor-made for Upper East Side college girls. The outerwear and tops were mostly inspired by varsity jackets and letterman shirts, paired with long, schoolboy shorts or girly, flower-printed skirts.

Moncler is only Valli’s second gig. Earlier this week, at the show for his eponymous label, the designer – who made a name for himself reinventing volumes and shapes with his sumptuous laser-cut tulle ballgowns – showed a penchant for voluminous peplums that emphasised the chest, while shapes were particularly tight and figure hugging. It was a mix that made for desirable, ladylike Lolita looks.

Sarah Burton, for her part, impressed with a romantic take on women’s ready-to-wear for Alexander McQueen. Burton introduced fluid and elongated silhouettes that had a medieval, pagan charm. In fact, Burton’s refined take on craftsmanship took the idea of patchwork treatments to the next level. Her silk dresses were engineered and printed in cross-stitch squares and featured a richly worked jacquard of medieval flowers.

Equally fond of romantic visions from the past, Pierpaolo Piccioli played with Victorian aesthetics at Valentino, which he mingled with Memphis influences from the ’80s – think high-collared numbers in vibrant, warm colours and asymmetric graphic surface designs which were sublimated by a softly tailored, highly feminine Lolita silhouette.

At Hermès, romance was not on the agenda of a collection that was sleek and straightforward and exuded practical femininity. Highlights included perfectly tailored outerwear: cropped bolero jackets, revisited bombers and long trench coats in eye-popping colours. Hermès’ heritage epitomises the French establishment – and Nadège Vanhee-Cybulski’s creative direction is firmly rooted in this legacy.

Miuccia Prada made an impression by revealing a so far well-hidden secret: that she has been a huge fan of old-school hip hop from the ’70s onwards. Her Miu Miu collection was all about candy coloured, fluffy, oversized faux-fur coats and retro flavoured dresses with rococo embroideries and paillettes, which were accessorised with equally furry oversized newsboy caps and plenty of bejewelled accessories and details. All very glam.

Nicolas Ghesquière ended the season on an intellectual note with his womenswear outing for Louis Vuitton at the Louvre museum. For a few seasons already, Ghesquière has been designing empowering womenswear with sharply cut, seductive yet nonchalant silhouettes. This time around, his wild mix-and-match of various styles and influences in one collection made for a powerful statement. Luxury’s street sophistication, gender-bending styles, athleisure and day vs. evening wear – today’a biggest fashion trends were melded into one coherent collection.

What could have been a risky move – mixing so many quintessential inspirations – actually turned out to be a success. The first silhouette to hit the catwalk said it all: a ladylike, sharply cut leather coat worn over a silky baby-doll dress paired with sporty leggings and accessorised with flat ankle boots and a bejewelled necklace - an outfit where high and low collided.