Spring 2014 has seen a worthy variety of prints, palettes, and silhouettes over the past month, culminating in the wealth of options on display a week ago at the Paris shows, which presented a shimmering variety of possibilities with a strong emphasis on texture, as can be seen in The Last Magazine fashion director Alastair McKimm’s top ten looks. Dries van Noten decorated his intricate designs with ruffles, pleats, and embroidery to dazzling effect. The vision at Maison Martin Margiela was one of rich showmanship, with sparkling beading adding a glimmer to the sharp menswear-inspired pieces. Rick Owens presented a uniquely creative twist on his classic draping, wrapping his dresses around college steppers whose snarling expressions and carefully choreographed performance rejected all notions of what a fashion show should be. Haider Ackermann put a low-key shine on his strong, emphatic designs, with a range of soft metallics that had a burnished glow. Rei Kawakubo soared over the boundaries between fashion and sculpture at Comme des Garçons, offering designs that each had their own individual forms that pushed beyond a standard understanding of “clothing.” Hedi Slimane brought a new feminine glamour to the updated rocker æsthetic he has been mining so successfully at Saint Laurent. Riccardo Tisci offered a stripped-down vision, eschewing the iconography and idols of previous collections for a clean purity of distinctive shapes that had a subdued elegance. Raf Simons continued his reinvention of the house of Christian Dior, injecting the label’s storied history with a jolt of vibrancy and progressivism that pushed provocatively forward without losing a sense of the past. Sarah Burton’s show for Alexander McQueen had an evocatively eclectic range of vigorous prints that demonstrated her respect for the name on the label while still proving she has her own independent vision. And Phoebe Philo, in a season that hummed with the tension of designers pushing against expectations, reinvented her thoroughly modernist minimalism with a vivid riff on graffiti that proved that even the Old World capital of Paris continues to surge in vital pursuit of the future.