Naomi Campbell steals show at couture as Bruni is mobbed

Carla BruniPhoto: Splash News

Singer Carla Bruni, actress Catherine Deneuve and burlesque performer Dita Von Teese were among regulars attending the spectacular displays at Paris' haute couture week Wednesday.

Sophie Hunter, the fiancée of Oscar-nominee Benedict Cumberbatch, meanwhile, caused much fracas when she attended Valentino hiding her baby bump.

But it was surely Naomi Campbell who stole the show, strutting out panther-like at Jean Paul Gaultier despite being dressed as a bouquet of flowers. It's good to know that high fashion still retains its humor.

Here are the tidbits and highlights of the 2015 spring-summer collections.

Unaccompanied Bruni was mobbed by intrusive cameramen upon entering the Jean Paul Gaultier collection.

As she arrived at the top of the venue's marble steps the scrum grew, she panicked, calling out: "Where do I go? Where is the show?"

The 47-year-old former French first lady then physically forced one of the lenses away from her face.

Once in her front row seat, the mood changed – and she was seen to be enjoying herself. There were even cheers when her 2002 hit "Quelqu'un m'a dit" was played in the show soundtrack.

"It's completely understandable I love her songs and it was perfect," said Gaultier, unaware of the scuffle.

Jean Paul Gaultier chose to explore marriage in white – and divorce, in black – for his first couture show after the end of his ready-to-wear line.

The obvious symbolism was renewal, or change – after bidding an emotional goodbye last season to his over-three-decade long "pret-a-porter" career.

But there was no soul searching whatsoever in this infectious and imaginative show.

Naomi CampbellPhoto: ZUMA

Burlesque star Von Teese and Eurovision Song contest winner Conchita Wurst were among celebrity guests escorted to sections named after wedding anniversaries: amethyst for 6 years, jade for 12 years, emerald for 20 years – and the unromantic-sounding granite, for the near-impossible 90-year-celebration.

Gaultier, ever the optimist, said that the end of the ready-to-wear had given him more time to "perfect the techniques and the work of the atelier, which was unbelievable" – such as a trompe l'oeil dress resembling python skins, which was, in reality, embroidered silk knots.

Whatever this aging enfant terrible does, one thing is a constant: Fun.

The show, almost exclusively in black and white, was a tale of two silhouettes – with many dresses split down the middle.

The best look was a figure-hugging black crepe number with another gown, in trompe l'oeil 3-D hourglass tulle, placed creatively on the front.

The 62-year-old designer said show celebrated "all forms of marriage, and for all ages, and as many times as you want… And, yes divorce."

This mantra was resoundingly clear: in his signature menswear tuxedos (representing gay marriage) and in the inclusion of models up to their 60s; a common theme.

The divorce element appeared as a comic homage to the infamous seven weddings of actress Liz Taylor – with a blue python dress and feathered hair piece, modeled theatrically.

The couturier said, in an aside, that divorce and multiple marriages may indeed help boost couture dress sales.

Silhouettes were often graphic, with more than an echo of his Eighties heyday.

It might have benefited more if Monsieur Gaultier had used this fresh chapter in his career to do something completely different – but in all, it was a joyful collection.

It was a strong couture collection from Valentino's Maria Grazia Chiuri and Pierpaolo Piccioli that moved gracefully from the dense, geometric embroideries of Hungarian styles to the bright colors and cosmic dreaming of Russian artist Marc Chagall.

But the high point of the show was surely the final flourish of diaphanous powder-colored gowns with chic embroidered writing. They were aptly called "tulle clouds" and felt at once both couture and highly contemporary.

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