The second runway show of the Fashion Festival week introduced a range of new influences, a few shocks and surprises, and the return of some familiar old friends (or should that be trends-)

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Willow's collection got Runway Two off to a fine start with a slate-coloured, boat-neck dress. The original design was emphasised by silver edging and cut away to reveal the back. Another dress, this time created in grey marle, was elevated to a more formal piece by delicate silver netting covering the shoulders and neckline. The rest of the colour palette in this collection also stayed true to seasonally subdued tones, barring one ladylike 60s frock in juicy Fanta orange.

T.L. Wood managed to sneak some subtle colour into its collection, starting with a floral print that appeared as if it were dabbed on by an impressionist painter's hand. The ubiquitous black trench (if you can't find one you like this season, you never will) was included, as was a charcoal version paired with seasonally inappropriate formal shorts. Tartan reared its head again in what came dangerously close to a flannel look. Yet T.L. Wood pulled off the design, turning the pattern into an elegant, tailored jacket with a co-ordinating frill at the hem and definition via the nipped-in waist.

Underwear on display heralded the start of Kate Sylvester's showing. The grey knickers, worn Superman-style, accompanied a tucked-in, billowing cream top and a grey, hooded coat to keep at least the top half of you warm. A highlight was a sleeveless, shapeless dress which had the potential to be just another floaty dress but was reigned in at the waist with a belt to show off layers of fabric fashioning them into a cute, tutu-like skirt. And if you ever wondered (and who hasn't-) what Wonder Woman would wear on her 'down' days, it would be this; a strapless grey bodysuit over a modest black skivvy and opaques - leaving the lasso of truth at home.

Fleur Wood manipulated the fabric on a gloriously simple, white slip dress to create interesting folds in the skirt and a scalloped hemline. It seemed to be all about the details for this collection, with the bust of an empire line dress embroidered with swirls of white thread and another slate-grey dress with embossed cut outs at the hem. There was always just something a little bit special about each piece, be it cobweb-like netting over the shoulders of a smock, or a hint of sparkle at the neck of an otherwise plain black dress.

Anna Thomas offset a sea of greys with help from a little 'green power'. The grassy hue turned up in a range of mint, turquoise and moss shades and even a charcoal coat had a distinctive, thick hem in Tiffany aqua. One piece included them all at once a silky shirt-dress, buttoned way up to the collar, was covered in converging spots of a myriad of greens.

Christine's accessories are all about 'more is more'. Everything, from the hats right down to the shoes, was embellished, detailed or simply had something extra special about it. Glossy black leather and metallic silver are in for bags though the size has been downgraded somewhat this season. Necklaces are multilayered constructions of Victorian-esque pearls and ribbon with more than one point of focus. Sumptuous velvet featured heavily in the collection, and a sequined take on the beret gave a nod towards the Parisian influences to be seen this season.

Mad Cortes' offerings included caramel frocks, ruffles down the front of a high-necked shirt and a floral skirt that appeared to have a so-called 'paper bagged' waist. They also cut to the chase in reference to the current styling trend of wearing a dress over a blouse or top by sewing them into one singular piece. The Mad Cortes portion of the parade was also the first instance of the Festival where the sky-high stilettos become too much to bear for some models, who inelegantly slipped them off on their return journey to backstage.

The first appearance for the Festival of the much heralded houndstooth print was made during the final collection of the evening Martin Grant. A simple 50s-style gown was plastered in the pattern and comprised a structured, strapless bodice, tiny waist and flattering full skirt. Grant still toyed with volume, one of the darling trends of last season, with puffed shapes again appearing on sleeves, sometimes at the elbow and sometimes at the cuff. The final pieces of the collection, and the parade, included a Grecian goddess, floor-length gown in deep sea blue and a classic, black ball gown with just a hint of sparkle trickling down the side of the bust.

Grant's finale piece suitably capped off a parade where black still reigned supreme, forever just nudging out its wintry cousin, grey (this is Melbourne after all). Though some surprising colour shot through at times, the moody tones will really dominate the season and the fashion elite can't seem to wait until the weather actually cools enough to get all rugged-up in trench coats, tartan and sumptuous creams.

* Image from the Christine collection, by Stefan Gosatti, www.stefangosatti.com