Alex Perry stuck to what he does best at the opening of the second Runway show as entrance-making gowns and old Hollywood glamour graced the pavilion catwalk. Departing somewhat from this season's colour trends, Perry showed floor-length gowns in pale pinks, buttery lemon and crimson velvet with bodices that wrapped around the body in flattering fashion. Silver detailing elevated the plainer pieces while many of the models were kept warm, enveloped in their luxe fur coats and wraps.

A cohesive collection was presented by West Australian designers Empire Rose. A little old fashioned but without being boring, the range utilised a wintry colour palette of purples, crimson and greys. Velvet and layering were key elements, as were cropped pants worn with coloured opaque stockings. The collection's vintage feel was impressive on the whole, with the exception of one burgundy dress that was bunched to create far too much volume in the stomach area (can anyone say 'pregnant')

Recent Fashion Hall of Fame inductee Jenny Bannister obviously felt like celebrating with the first of her fluorescent designs. Hot pink, yellow and orange dresses looked as if they had come from the losing end of a silly string battle, with bright ribbons randomly attached and streaming off at the ends. The pieces may have been too much to actually wear but did add a fun element and harked back to days when commercialism didn't have to factor so much into Bannister's creative process.

The winter collection's wearability did increase, transforming into a black-and-white show with a few muted colours throw in. Just for good measure, the last red carpet-worthy gown in the collection strutted out in a shade of the most vivid blue.

The dd label, by Megan Salmon, was up next with an oriental peasant look appearing throughout, with unfinished edges on patchwork and hems. Shapes were kept quite boxy and simple with the fabric being gathered, layered or dyed to become the stars of the pieces. It shared many influences with the Vixen range, also taking its turn to strut the circular catwalk during this show.

The winter Vixen collection didn't waver from its traditional themes. Relaxed and wearable the pieces were a little prettier than the dd label versions the key being fluid layers in delicately printed fabrics. Both collections appeared lightweight but appropriate enough to keep the cold out in the upcoming months.

Gwendolynne Burkin has almost managed to make hot pants look classy. Almost. Pairing those tiny velvety creations with a cream beaded corset and black lacy capelet, they somehow manage to blend seamlessly into a range of floaty, ethereal creations. Harking back to the 1920's flapper era once again, Gwendolynne created dresses dripping with beads and lace, but somehow made them entirely modern. A muted palette of mushroom, cream and white was utilised to cap off another eclectic night on the runway at the Melbourne Fashion Festival.