Virginie Viard, in her first ready-to-wear outing since the passing of Karl Lagerfeld, followed suit with her practical breakdown of a Chanel wardrobe for a young woman. Viard’s instinct was to strip back and emphasize the essentials of silhouette and tweedy Chanel textures in a relatable context. Up on the roof chez Chanel, a flat-heeled procession of leggy girls set out in tweed playsuits, tiny silk shorts, garçonne coatdresses, and little bell-shaped skirts.

The stand out pieces of Tom Ford’s Spring collection were the molded plastic tops and the collection’s first look; a jersey scoop-neck tee with the short sleeves rolled up to the shoulders and a duchesse satin skirt so white it was beaming. Of course, Ford’s tailored men’s jackets were typically loud and louche.

Ermanno Scervino’s show was billed as an “ode to Italian-ness,” and it was.  It seemed incredible that the same runway could host the eye-straining look of hot pink floral silk short shorts tied by scarlet leather cord with a fluo green sequined sweater, alongside a completely composed white crepe suit cut with Palladian precision.