Are you going to see Hedi one last time at home?

Hedi Slimane's latest “show” for Celine consisted of a video and, for some guests, the opportunity to see the full range of fabrics displayed on the shelves of the house's communications showroom on rue Racine. This turned out to be one of the top five collections so far this season. Even, according to rumors, it may be Hedi's last in the house.

Like the location of the video (the hallways and parks of the Chateau de Compiegne), the collection was elegant, cohesive and cool. Like its soundtrack, Nico and The Velvet Underground, the clothes referenced the swinging sixties. Although they again liked the tune, Femme Fatale, its mood and manner seemed timeless.

Mainly lean Celine cuts, with Hedi's signature streamlined silhouette, playful boleros in glazed lambskin; elegant suede riding jackets, short flared wool skirts; Divine beaded tank tops.

Speaking of Entente Cordiale, the swing of London and the sixties mixes with the intellectuality of St Germain, in a collection whose starting point was Slimane's rereading of Sagan's La Chamade.

And all quite classy: from the beige sequin carders and the densely sewn bugle bead jackets; to some fantastic crocketed cocktails embroidered with metallic flowers, courtesy of Montex, the famous supplier that is part of the Chanel-owned Par Affection artisanal supplier group.

And what do you know! An absolutely perfect houndstooth tweed suit that Mademoiselle Gabrielle Chanel would surely have loved to wear.

Presented around Hedi's video, with close-ups of a prominent lady between Nico and Francoise Sagan, the collection also included a couture section. A series of voluminous dresses in black silk faille and skillfully draped grosgrains where 1960s French classism meets a modern twist. They didn't say haute couture on their labels but that's what they were.

Paris has been plagued by rumors that Slimane has stopped working at Celine and has not been to the house's design studio on rue Vivienne in months. When asked about it, the polite PRs diplomatically responded that when Phoebe Philo left the house in 2017, “we found out about the move after the press.” Slimane remains the favorite of many experts to win the most coveted position in fashion: Chanel designer.

Therefore, and frankly, as a farewell token for Celine, or as a business card for a new position, it must be said. This was almost perfect.

Gabriela Hearst: Goddesses in Karl's Old Garden

It's good to see Gabriela Hearst playing Gabriela Hearst again, focusing on what she does best: real clothes that express her innate joie de vivre and her love for classy goddesses.

After Chloé's design hiatus, she seems completely in tune with her own work. And in sync with good fortune. After drizzling in the morning, the rain stopped during their show, held in the garden of Karl Lagerfeld's former home, the Hotel Pozzo di Borgo, a cut-stone St Germain mansion.

There were plenty of flourishes throughout the collection and nothing too over the top. Opening with Niamh, the Irish goddess of the seas, seen in a sheer, speckled georgette dress; followed by goddess Freyja, with a fun selection of intricate cocktails and leather mesh tops. Authoritative but never too ethereal in a show that also featured fantastic gold bouclé looks, inspired by the Amazonian deity Amaru, a fabric used in elegant men's suits in this co-ed show.

All backed by a great live indie country rock performance by Wesley Schultz of the Luminals, backed by the Felice Brothers.

Gabriela made her bow with her usual enthusiasm, stomping down the wooden boardwalk and turning around to greet the band; and hug half a dozen friends and family, with a big final kiss for my husband. She seemed elated, and after this collection she should be.

Zimmermann: it is not the perfect wave

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It looked like it was going to be a big show when one arrived at Zimmermann on Monday lunchtime, with the 80-meter-long curved set at the Palais de Tokyo projecting a beautiful video of surfers in waves.

It also sounded a lot like a Zimmermann show, with all the smart, smartly dressed young grandmothers of Sydney's inner suburbs, from Vaucluse to Paddington, and the air filled with women pronouncing “Paris and fabulous” with emphatic multiple A's.

But when the action began and the cast appeared, the surfers disappeared, replaced by a ray of light that didn't do the collection justice. And for once, Nicky Zimmerman seemed to be several points away from his A-Game.

You could certainly applaud her for taking some risks, even if not all of her experiments worked out. You can admire the numerous ideas of ruffled chiffon, dresses and coats that are largely transparent and ideal for a pool party or a cocktail party on the terrace. Furthermore, her use of lace and guipure was excellent, in mini cocktails, elongated blouses or magnificent tunics.

She also came up with some great prints, but strangely used them on trench coats with excessive buckles or gauzy dresses with trains, drowning out the cast. And too often the tailoring (parkas, trench coats and peacoats) seemed bulky and the volume heavy.

While the upbeat surf punk of the pre-show was replaced by repetitive garage rock, another misstep from a designer who is normally so in control of her schedule.

It looks like she'll have to wait for the next good wave, like so many surfers before her.