Designers such as Isabel Marant, meanwhile, never fail to distil the essence of the chic Parisian aesthetic that has come to define French fashion and influence the daily wardrobes of cool girls around the world.

Here, in chronological order, are five highlights from the shows so far.

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Dior

For the autumn/winter 2024 ready-to-wear show, Dior’s creative director Maria Grazia Chiuri looked back at that time in the late 60s, when many Parisian houses started to make ready-to-wear for a larger and younger audience.

Chiuri always designs with women’s needs in mind; there’s a practical elegance to her creations that make them perfectly suited for everyday life. This season, that sensibility translated into wardrobe staples such as trench coats, biker jackets, skirt suits and A-line dresses, some of them printed with Miss Dior graffiti-type logos or embellished with beads.

As is often the case with Chiuri, she paid homage to a female figure: this time, Italian artist Gabriella Crespi, who collaborated with Bohan on home decor pieces back in the 60s. Indian artist Shakuntala Kulkarni, known for her armour-like sculptures depicting the female body, was behind the set of the show.

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Saint Laurent

If Anthony Vaccarello’s work at Saint Laurent could be summarised with one word, it would be consistency. All his collections have a distinctive feel to them, and for each outing, the designer always hones in on one idea and develops it with laserlike focus.

Like every season, the autumn/winter 2024 show took place a stone’s throw away from the Eiffel Tower, where this time around Vaccarello and his team built a structure housing two circular rooms covered in green velvet damask curtains.

The boudoir-like setting was meant to recall the interior of the couture salons of Avenue Marceau, the brand’s historic headquarters.

Transparency, a signature of the house since the days of late founder Yves, was Vaccarello’s obsession this season.

Sheer chiffon tops paired with pencil skirts and dresses in the same transparent material were interspersed here and there with power-shouldered suits and three all-black outfits featuring stiff leather jackets.

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Undercover

Undercover’s Jun Takahashi’s homage to banal clothes has been one of the best moments in Paris so far. The Japanese designer’s autumn/winter 2024 show couldn’t be more different from last season’s, which featured those buzzed-about “terrarium dresses” with live butterflies flying inside them.

Instead of the usual soundtrack, Takahashi used the voice of German director Wim Wenders reading a gripping story narrating the day in the life of a woman. The clothes and attitude reflected the text. Models carrying grocery bags, yoga mats and other mundane items were clad in simple outfits such as tank tops paired with jeans, and cardigan-and-pencil skirt combos.

But here’s the twist: some of the pieces were embellished with sparkly tinsel and made with a method that Takashi calls “adhesion”, which blended completely different materials in the same garment.

It was a genius take on ordinary clothes that was anything but ordinary.

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Rick Owens

One of the great things about a Rick Owens show are its guests. The Paris-based American designer normally holds his shows at the Palais de Tokyo, where his avid fans, decked out in his monochrome creations, are as much of a visual draw as the clothes on the runway.

This season, however, Owens decided to bring things home – in more ways than one. He held the autumn/winter 2004 show at his apartment on the left bank of Paris. It was a very intimate affair, which may have not provided the street-style spectacle of the outside crowds, but certainly didn’t lack the wow factor.

He also went back home more figuratively. The collection was named after Porterville, the small town in California where he was born and a place he longed to leave as a child to get away from bullying and his strict upbringing. (His father didn’t allow him to watch TV and instead exposed a young Owens to fantastical tales that enriched his imagination, as he explained in the show notes.)

Needless to say, the clothes had very little to do with Owens’ sunny home state. The designer has built a cultlike following thanks to his uncompromised vision. It almost feels like he has created his own world, one populated by otherworldly creatures moulded in his image.

This doesn’t mean, however, that his clothes, including those from this collection, are not meant for real life.

And for those who want a piece of the Rick Owens magic, the brand’s bestselling shoes and distressed leather jackets are always there to keep the brand’s machine running.

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Chloé

It’s hard to keep track of the revolving door of creative directors who have been at Chloé over the last two decades. So has the brand finally found its perfect match in recently appointed creative director Chemena Kamali?

The collection was everything a Chloé collection should be: feminine but not too girlie, luxurious but not too precious, a bit retro but still au courant, and definitely Parisian but not in a cliché way. Kamali mentioned the 70s as an inspiration, but the vibe was very of the moment.

The boho-chic frilly chiffon dresses that have always been a signature of the house made an appearance, and were paired with knee-high boots. Stand-outs ranged from the fringed leather pants with pleated chiffon bell bottoms to the capes and jackets in patent leather, not to mention what is likely to be one of the hottest items next season: the chain belts emblazoned with “Chloé ” in cursive script.

Kamali, who took her bow with a big smile and hugged her child, who was sitting front row, said that the collection was about “intuition, freedom and an instinctive female energy”.

It was a promising new start for a brand that could do with a much-needed dose of energy.