The big guns of glamour were out in force for the sixth installment of LMFF's runway shows. The line-up read like the wardrobe credits for an A-list red carpet event: Lisa Ho, Jayson Brundson, Gwendolynne, Nicola Finetti and Wayne Cooper to name but a few. It was to be a heady, head-turning night of decadence, elegance and beautiful frocks.<-xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office"/->

Introducing us to the world of whimsical wonderful was Aurelio Costarella, who recently floated his company on the stock exchange. Adored by <-xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags"/->Hollywood starlets, including Melissa George and Sharon Stone, Costarella's formal wares are unlike any other, encompassing corsetry, deconstruction, appliqué and beading. He uses a unique mixture of fabrics from cottons to tulle to the finest lace to produce garments that appear to be borne from many muses from courtesan to princess to angel. While Costarella's more elaborate pieces, including a gold strapless gown with the most unusual baubled antique lace overlay, were a joy to behold, they sadly won't bring any joy to your bank account.

The piggy-bank pleaser: the black satin trench coat with high, rolled sleeves will provide maximum wear, but shares in Aurelio Costarella will last for seasons to come.

The master of understated elegance was next, and produced a collection with a surprising safari influence. Jayson Brundson sent various versions of floaty silk sheaths down the runway, each with their own subtle highlights including a manipulated waist, a tied-and-knotted neckline, and an asymmetric sequinned panel. Amidst the fluid black, brown and cream hues was one bold, tiger-print option, with jet detailing around its high neckline and a full blacked-out back.

The not-so-standout alternative: belting one of the block-coloured dresses with one of Brundson's belts in the same roaring print.

The most affordable collection was one of two by Nicola Finetti, who seems to churn out the largest number of classy mini dresses, season after season. He opened the collection from his diffusion line, Nylon Flocks, with one in a pale yellow and beige check, trimmed with a different, minute beige check. The check print was a major player in Finetti's younger vision, appearing on cropped jackets, tiny boleros, and many a dress with a bubble hem (I warned you they're not dead).

What didn't come in check: a long-sleeved dress, a sleeveless dress, a cropped jacket with military detailing, a few bubble skirts, and the first and only midriff top of the night.

Finetti's signature line was presented later, but let's continue with the subject at hand. Abandoning the checks, the entire Nicola Finetti collection came in café-coloured hues, starting with the deep brown shade of a long black, moving on to a flat white and finishing with the light shade of warm milk. Black embroidery took up residence on hems, necklines, bodices, and all over one particular skirt, while black ribbon tied up the waist on a silky white dress, and finished off the knee-length hem.

The perfect dress length according to Nicola: anything between mid-thigh and just above the knee, but no longer, thank you.

Back to schedule and Gwendolynne, whose collection seemed to have been switched for bridal couture. Not that it was a bad thing, for her ivory coloured gowns could never resemble wedding meringue. The creamy, bias-cut gown that opened was classic; the tiered and ruffled tulle gown fairy-like; the asymmetric, gold beaded number modern; and the mini dress with the textured flip skirt and feathered décolletage eye-catching. But towards the end we got colour, as vibrant scarlet, antique gold, warm pewter and jet black marched out in slinky satin, floor-length gowns.

The surprise finale: a super-cropped version of the tiered, ruffle dress, worn strapless with a sheer, embroidered, super-cropped bolero.

But perhaps the bigger surprise came in the following collection from Wayne Cooper, who produced a markedly different range from his usual fare. It was cleaner-cut, more grown-up, and more chic, but there were still slight references to certain international collections a habit Cooper can't seem to shake, though it does him no harm. Standouts included a white, faux fur-trimmed cape; a black shift layered with lace; a red satin, strapless, empire-line frock; and a floor-sweeping, black, strapless gown with an embroidered and beaded structured bodice.

The not-so-surprising standout piece: the chubby, cropped jackets, in snow and blackened charcoal, which borrowed their shape from Balenciaga's but added a new dimension with their snugly, faux-fur fabric.

You can always count on Lisa Ho to feature show-stopping gowns the elegant, flowing frocks that will end up on pretty soapie stars at the next Logies. Alas, there were only two this time: a cream-and-black, diagonal-striped dress with a tied bust, and a ruffled, black chiffon offering with a catwalk-grazing hemline. Ho's prim, ladylike separates were the real winners, encompassing puff-sleeved coats, polka-dotted blouses, and sweet dresses that occasionally flipped up to show their brightly-coloured contrast lining.

Where to wear these designs: Paris, of course. With models strolling to a French soundtrack in their chicest outfits, the only things missing were the accessories a baguette under the arm and a beret on the head.

Milliner extraordinaire Richard Nylon filled the headwear void and closed the show with his incredibly unique creations. They appeared as plastic explosions on models' heads some large bursts, some smaller twin bursts, and one metallic burst connected to its wearer's arms with several strands of jet-black beads. Other innovative headpieces used perfect white feathers with golden quills. One had its feathers positioned to resemble the Statue of Liberty's crown, while another featured crossed duos of feathers on a delicate structure, creating a flock of birds flying through the model's hair.

Where we'd like to see these worn: the Melbourne Cup, as it's the only event where it's highly expected, and practically legal, to poke out eyes with crazy headwear. An eye-popping finale to a mouth-watering feast of glamour.