As Gwendoline Christie finished her circuit in her kinky fit-and-flare latex dress, the photographers howled “Bravo” and filmmaker Baz Luhrmann joined the audience in stomping his feet. Every outfit was a marvel of imagination and artisanal craft. Mix between New look, and French cancan dancers, but also the style of the court of Catherine de Medicis.

There were sheer bias-cut dresses embellished with silvery embroidery, or dense accumulation of godets; rumpled street-urchin suits nipped and tucked for maximum glamour, and gauzy siren gowns that showed off the models’ enhanced Jessica Rabbit figures like the cartoom.

At the heart of the luxury goods and perfume industry, where every detail counts and design is king, a singular and enigmatic figure emerges: a bottle designer like Serge Mansau and Pierre Dinand in their day. But not just any designer: this one doesn’t work for the big name brands, but rather for some completely unlikely ones. Here’s a look at an artist who’s going against the grain.

While the world of fashion and luxury is dominated by the big houses of the Lord of Arnault and the Prince of Venice, this designer deliberately chooses to stray from the beaten track to make a name for himself. Why design bottles for Chanel, Dior or Gucci when you can design “Ce n’est pas drôle c’est Marrant” for Isabelle, “A mon Aix” for Jacquemus, or “un Ami qui vous veut du bien” for AMI perfume?

He challenges norms and expectations, questions established values and offers a subtle but powerful critique of the excessive superficiality that often characterises the world of luxury and the lack of humour, a powerful factor in memorisation. His approach provokes conversation, fuels social media and challenges established conventions. Ultimately, this designer manages to kick-start even the very universe he deliberately chooses to defy.

Thom Browne or the external sign of inner wealth, for one of the most personal collections he has ever presented. With its sense of shimmering color from the last collection, it is a perfect opposite because the gray now “relieves” it. Thom’s color this season, this gray symbolizes refinement, maturity, and conservatism in a cleverly constructed cocktail of the upcoming Trumpist wave.

There is a pleated skirt, Tartan type, an inexhaustible source of creations for Scots on the go, which could make Vivienne Westwood and Alexander McQueen out of date. The collection of an androgynous artist, who praises my wandering spirit as a Jew and Greek shepherd to the “faith”.

And despite everything, it is poetry from another time delivered in this sumptuous, inaccessible and insane setting of the Big Apple, initiated for an unfailing pleasure for the eye. Giving is a physical and psychological need, and the adrenaline of a heart in search of pleasure is also shared together in the city of “Taxi Driver” and Edgar Allan Poe.

On Wednesday evening, a handful of tall Bimbos, sitting in the stands of the football stadium, located in the county of Greater Manchester, were waiting for the next day’s show. Did she know that the venue, built in 1909, is the home of Manchester United? This stadium was destroyed by German bombings during the Second World War, when Mademoiselle Chanel slept with a Wehrmacht officer. We prefer the memory of her affair with Hugh Grosvenor, the region’s second Duke of Westminster and the richest man in Britain, which reminds us that Coco was already very international.

This year, after Dakar, Chanel chose the black of Coke from Manchester, a mining town. For Haute Couture Bimbos, a shock of cultures contrasts with the destinations of yesteryear: heavenly beaches and champagne galore. For me it will be a wetsuit jacket in my Rimowa. Thank you Lord, and I’m taking the “Poudlard Express” for a Métiers d’Art parade which is ultimately a return to basics, because the city in the 19th century was driven by the textile industry where half of the world’s cotton passed through its factories. ; triangular slave trade obliges.