If you're looking for infinity, you'll find it harnessed on the third floor in Dover Street Market. Hedi Slimane's Saint Laurent collection – menswear, womenswear and accessories – is reflected to the hilt in a cabinet of dress-up geometry.

Appropriating techniques and materials from French Art Deco with Bauhaus influence, repetitive vitrines are constructed in poli mirror, brass and extra clear mirror, playing the House code of silver and gold in unison. It's the ultimate frame for Slimane's youth quake tailoring, leather jackets, suspended Paris heels and blue jeans, an item Monsieur Yves Saint Laurent had great regard for, quoting, "They have expression, modesty, sex appeal, simplicity – all I hope for in my clothes". This installation remains equally as potent empty of the ritualistic wardrobe.

It's not the first time Slimane has exhibited at Rei Kawakubo's original concept store, however, as the creative showcased his F System furniture project back in 2007, a series of artisan crafted loveseats and tables transposed – and disrupted – from historical silhouettes in stainless steel and ebony.

Mayfair's the hotspot where the impetus of other eras meets the future, it seems. All those mirrors make sure the romance bounces the right way.

A series of religious Byzantine and Venetian murals made up the invitation to yesterday's Dolce & Gabbana's show. Many were taken from the walls of the Cathedral of Monreale in Sicily, where these gilded works, dating from the 12th and 13th centuries, cover almost seventy thousand square feet of the building itself. That same sense of iconographic excess and feeling of devotion became the very premise for the collection.

Domenico Dolce and Stefano Gabbana printed these religious images onto dresses and separates, creating their own adaptation by adding texture, heavy beading and colourful embellishments. Models appeared on the runway wearing gilded crowns and large gold crucifix earnings, almost becoming religious icons themselves. Silhouettes ranged from longer evening dresses, to shorter skirts and box-like mini dresses. Then sheer black lace began to appear, peeking out under the hems of printed dresses or making up a top to sit alongside a corseted skirt.

Their colour palette began to narrate acts of religious devotion, white became a symbol of purity, black a representation of mourning, and the incredible bold red that closed their show a nod to power and passion. The duo even referenced their own archive, sending a sculptured metallic gold corset down the runway, heavily adored with big coloured gems. That's a signature piece, which seemed fitting for a collection routed in worship and the iconic.

www.dolcegabbana.com

Makeup: Pat McGrath

Models pictured: Sui He-@sui_he, Kate King-@KateKingg, Daphne Groeneveld-@daphgroeneveld, Suvi Koponen-@SuviMK, Fei Fei Sun-@FeiFeiSunSun, Karlina Caune-@kkkarlie, Bette Franke-@Bette_Franke, Chiharu Okunugi-@chiharuuu0515

Mixing a soundtrack of Oasis, Blur and a symphony of bagpipes – it was clear there was a real clash of references at Moschino this season. There were micro tartan kilts, double-breasted riding jackets and fringe-heavy suede coats, all given Moschino attitude with the inclusion of oversized gold earrings and gold studded embellishments.

The mini and at times, box-like silhouettes echoed the luxury teenage power dressing of the 90s. Shut up! We're, like, so talking the wardrobe of (now classic) movie 'Clueless'. Whilst this season's colour palette developed with each look, moving from pop reds, to forest greens into a monochromatic ending of black on white.

However, Clueless in the dictionary sense of the word, this was not, with a very considered take on the extra details; the bow ties, the pussy bows and embroidered gold Moschino crests. The fringed leather pouches slung round the waist and the tartan trimmed hats told the story of an Italian Highland fling.

Precision and optical illusion defined the Iceberg show. As the collection unfolded, it told the story of geometric possibilities – opening with sharp leather lines that formed across on the body, before moving onto stripes, block coloured sleeves and closing with a finale of vivid prints.

Within the strict linear regularity of the collection, colour burst onto designs. It was used to dramatic effect, highlighting these ordered shapes by offering one white and one yellow sleeve on a black jumper, or by combining yellow, beige and white stripes on a woollen dress. By the end of the collection, it has reached a new extreme when psychedelic acid prints emerged on dresses, or featured as beaded as sequins on oversized knitwear.

Models pictured: Cara Delevingne (@Caradelevingne), Zuzanna Bijoch (@BijochZuzanna), Daria Strokous (@DariaStrokous), Julia Nobis (@JuliaNobis1), Bette Franke (@Bette_Franke), Hanne Gaby Odiele (@hannegabysays), Ava Smith (@Avakattos)