We've moved onto look seven of this exclusive all-weekend, all Celine shoot here at SHOWstudio.com. It's a bit of a Belle de Jour moment as model Melissa is naked (well, to all extents and purposes) under that French navy sheepskin overcoat. Naturally the essential accompaniment to the look is leg make-up, which our session make-up artist Gemma is layering on good and proper before we get busy behind the camera. The final touch to this picture perfect look? Having Katie Shillingford on hand to tweak your collar to the perfect angle is naturally somewhat helpful. Stay tuned for more updates as the shoot progresses (and more interviews with our backstage team, when I can tear them away!)

Our final look before we break for lunch is this teddy-bear soft Celine shearling overcoat with glossy leather detailing, and a welcome reappearance of those natty gilt-heel boots.

The second day of Ruth Hogben's shoot here at our Bruton Place studio has kicked off, with another trio of Celine A/W looks planned for filming. In contrast with yesterday's outfits, Katie Shillingford has chosen a slew of coats and capes in cuddly sheepskin, nubby lurex-flecked bouclé redingotes and fluttery scarf-collared crepe-de-chine frocks. And, just as the clothes contrast with yesterday's choices, our model Melissa's hair and make-up have taken a tougher turn with slick, sleek hair and and iridescent sheen across the cheeks. The action has just begun in the LiveStudio above my very head so stay tuned for more throughout the day.

Our third look brings us back to the very beginning - this is Phoebe Philo's opener, a navy pea-coat, severely straight to the knee, with asymmetric front-buttoning (and, for the lucky wearer, amazing velvet-lined cuffs). Katie Shillingford has teamed this coat with those signature Celine equestrian boots once again - please excuse the blurring, but we're in a fit of freewheeling movement for this, our final look of the day (we even had the treadmill out a minute ago!).

Our live shoot has kicked off in earnest, with Ruth Hogben shooting a cinematic selection of the hottest A/W 2010 looks from Celine, styled by Katie Shillingford, exclusively for SHOWstudio.com. There's no live stream today, unfortunately (we don't want to give the game away too early!) but we will be trickling out a selection of images snapped of each and every look. First up is exit 11, the darkest of dark navy patent trenches worn with gilt-heeled riding boots. Speaking with Katie and Ruth prior to this shot, the idea is that the 'hard' looks contrast with softer hair and make-up, and vice versa for the 'soft' looks (those fluffy reversed-shearling coats, for example). The action is just kicking off now, so stay tuned for more updates as the two-day shoot progresses.

It's easy to get caught up in the glitz, glamour and ritzy designer names of fashion and forget about what it takes to make this multi-billion pound industry tick over. Ideas. Lots of them. And really great ones at that. It's always fantastic when someone shows you work that you get really, really excited about - and today I was fortunate enough to see pieces from not one but two young designers, whose overflow of ideas are enough to give you tingles down the back of your spine. First up was Kat Marks, a young clothing and accessory designer whose leitmotif already seems well-developed - moulded perspex painstakingly coated with leather - and ripe to be showcased on a wider stage. My pick from the 2010 Central Saint Martins M.A. show was Lilly Heine, the joint winner of the Harrod's prize. Her work will not only feature in the windows of this London fashion institution, but will be sold there on a made-to-order basis. Appropriate really, as there are shades of Roberto Capucci's most alta of alta moda creations in Heine's laser-sliced layers of fabric. However, for those whose pockets may not stretch to a custom-crafted Heine creation, fear not! She's currently in talks with retail behemoth Topshop to translate her exacting vision into ready-to-wear - and, remembering their sell-out Simone Shailles collab a few seasons hence, it bodes well for an affordable slice of the Heine slice-n-dice aesthetic the girls here at SHOWstudio.com went all gooey-eyed over. Watch this space for more from both of these talents very soon...

While Alexander McQueen's intimate Paris presentation allowed a closer-than-close look at the clothes on offer (if you exhaled, your breath would billow a yard or so of silk chiffon), you couldn't actually get into the nitty-gritty of manhandling these painstakingly-wrought demi-couture garments with your own not-so-fair hands. That why God invented press days - a chance to view these awe-inspiring pieces up close and personal in the McQueen headquarters over in Clerkenwell. They were no less awe-inspiring a second time around, the garments taking their decorative motifs from Renaissance painting, ecclesiastic spectacle and marble sculpture. The latter was reflected in a trio of dove-grey silken gowns, embellished with silver beadwork, while the former in whirling baroque arabesques and sparkling jewel-encrusted clutchbags crafted to resemble intricate bibles. Carved golden cherubs supported shoes, angels wings formed the closures for bags, and Hieronymus Bosch's garden of earthly delights cavorted across jacquard handbags, evening gowns and wasp-waisted jackets. Exquisite, each and every piece, and, it seems, a lasting legacy to a man who has helped define a generation of fashion talent the world over.

All seems to have gone quiet on the press day front from me - but, trust me, it isn't for want of product! Indeed, it's been a veritable onslaught over the past week or so, with my weary little legs racing around eight in a single day - although that pales in comparison with no less than thirteen attended in one afternoon by the style super-troopers Karen Langley and Katie Shillingford of Dazed & Confused. It's inevitable that both days and designers tend to run together into one blur of beading, cable-knit and lots and lots of fur. But there have been a few stand-outs: literally, in the case of Miu Miu's three-dimensional metallic silver flowers, popped out from the surfaces of wool jersey cocktail frocks, square-toed loafers and sleek, chic little spats. Even in my state of fatigue I couldn't help but crack a smile at Vivienne Westwood's oversized cardboard crown and beaded knee-high socks in fetching puce (for men, no less). If we're speaking of embellishment, we can't help but think of Versace - this season, patching fragments of mirrored leather in rich reds, yellows and blues into short, sharp evening sheaths spliced together with metallic rings or fringed with chains. Versus was simpler - pleated 'cupcake' skirts and satin bondage straps, occasionally spilling over into fetish-y doctor's bags buckled and trussed with slithers of leather. Perhaps Mr Kane - the assured hand behind that Versus line - reserved his decorative energies for his own label? Something unleashed his urge to embellish to the hilt, in any case - lashings of buttery leather came embroidered with a cornucopia of foliage or studded with a king's ransom of multicoloured gemstones, and thick, rich lace was crafted into sharp shirts (with a neat calfskin collar, natch). Elsewhere, I loved Richard Nicoll's blinged-up bulldog clip jewellery - just the thing for a stylish merchant banker to splash her freshly-embezzled cash on, especially alongside a Linder Sterling collage t-shirt dress in chicest silk crepe. And, if you're feeling slightly less discrete, as ever you should turn to Balmain. A silk-damask frock-coat, studded with bejewelled buttons, sliced open down the seams and laced together with gilt chains? Louis Quatorze would be proud, Monsieur Decarnin.

Given the current raging debate between the merits of online versus print media, our former Editor in Chief Penny Martin's inaugural public lecture in her role as the Rootstein Hopkins Chair of Fashion Imagery at the London College of Fashion (try saying that three times fast) was timely, to say the least. After seven years at the helm of SHOWstudio.com and now editor of The Gentlewoman, the much-acclaimed sister magazine of Fantastic Man, Martin is almost uniquely-placed to weigh up the merits of the two mediums, given her pivotal role in directing SHOWstudio.com through those early years of establishing reputation and, most importantly, direction.

An interesting concept discussed was how the early SHOWstudio.com team helped figures from the fashion industry deal with the concept of fashion on the Internet - especially when, as Martin states, they were often met with phrases such as 'Oh, I don't really like computers.' The modus operandi was to think like a fashion magazine, and indeed try and relate everything created under the SHOWstudio.com umbrella to print journalism - the design_download series became the SHOWstudio.com equivalent of a gift 'free with purchase', for example. Restating Martin's points here seems a little redundant when you can just trawl our Archive for as many examples as you need - the ones she highlighted were Forget-Me-Not, Mac III and Anechoic, just for reference.

As for the image above? Well, you couldn't really discuss online journalism right now without thinking of bloggers - the most high-profile example of which (bar, perhaps, Tavi Gevinson's infamous 'Bow-gate' incident at Dior's last haute couture show) was this blog-heavy front-row line-up at Dolce e Gabbana's spring show. Rather than taking the high-profile bloggers to task for usurping front-row places in a hierarchy that makes Ancien Régim Versailles look free and easy, Martin questioned the immediate imagery they were proposed to create - arguing that, far from blogging as the event happened, these front-row fixtures only managed to get their posts up hours, or even days, after the event. Equally, the imagery they produced, despite their front-row positions, was questionable at best. Overall it seemed the argument was for quality rather than quantity, whether in online or print journalism. Surely, that's a stance both green-eared bloggers and hard-nosed journos can get behind, on the page and off.

The utterly charming Erdem has just left the LiveStudio following his (hopefully not-so-gruelling) one-on-one interview with myself as part of our In Fashion film series. Preparations are already underway for our next broadcast - MC Shystie's live performance styled by innovative milliner Nasir Mazhar at 16:00 BST this afternoon. Tune into the LiveStudio for all the action

High street brands collaborating with designer names has become standard industry practise in the last decade or so - Topshop leads the way, with the likes of Christopher Kane, Marios Schwab and Richard Nicoll turning out covetable capsule collections for them at a slightly higher-than-high street pricepoint, and arguably H&M has made it into an art by hooking world-renowned names like Lagerfeld, Kawakubo and Cavalli (no first names required with this roster of stars). But plucking talent the world's finest fashion graduates, giving them carte blanche, and putting their name on the results to boot (rather than stealing the credit for the megabucks brand in question) is a new idea being pushed by Cheap Monday's sister brand Weekday. The label has invited two stars of last years Central Saint Martins MA show - Oden Wilson, and my personal favourite Laura Mackness - to create a range of garments, focussed broadly around the simple t-shirt but slipping into jackets, shirts and leggings. Each bears the distinct imprimatur of its creator (as well it should): Wilson's already-signature brilliant cobalt block-coloured sperates, while Mackness re-interpreted the flocked anatomical details from her much-lauded show as transfer print, alongside hand-drawn watches taken from her own collection. Alas, the range is only available in Sweden - the one flaw in this otherwise impeccable combination of raw creative talent and commercial prowess. Hopefully they'll rectify it. Soon. Please!

Despite a hectic month of shows, and April's calendar packed with more press days than you can shake a backstage pass at, we've still not had our fill of fashion, it seems. This Thursday 15 April from 11.30 GMT, we will live stream our In Fashion interview with Erdem Moralioglu - and really, there could be no better time to sit down with him, as barely two weeks ago the designer was announced as the winner of the first BFC/Vogue Designer Fashion Fund prize, giving a hefty £200,000 boost to his eponymous label (he's politely shortened it to Erdem, to avoid any tongue-twisting on our behalf). Known for a sweet but never saccharine vision of femininity - think ruffles, crystals, florals and lotsa lotsa couture-quality lace frippery - Erdem's vision is sharpened with clear, crisp silhouettes and intricate kaleidoscopic prints devised by Moralioglu himself. The sum of its parts? A gorgeous confection of modern romance, and possibly the first non-ironic use of the adjectives 'pretty' and 'lovely' many journalists have made in years. Me included!

Join us online for the interview, broadcast from the LiveStudio at Bruton Place.

Somerset House is not only the new home of London Fashion Week, but for the second season running was the RelativeMO crew's choice venue to pitch their Press Day tent. Frankly, it's more of a marquee, with names including Louise Goldin, Erdem, Preen, Giles and John Galliano cramming the august institution's Portico Rooms to capacity. These are the easy names to highlight because, off the catwalk, their pieces seemed even more intriguing. Without burying your face in the detail, it was difficult to see that the embroidery spiralling across a Galliano bias-cut frock was minutely-stranded and braided corn-rowed hair, or to fully appreciate the laser-cut delicacy of Giles' cloud-strewn silk tops. Louise Goldin's fabulous Swarovski-encrusted platform booties could be seen from a mile away, however: this girl has a mean eye for a crystal detail: Swarovski should snap her up for a jewellery collab, stat. Likewise Mary Katrantzou's print-smothered dresses - interviewing her last week as part of our In Fashion series, Katrantzou talked about these as 'pastiche' of eighteenth century portraiture, while at the same time invoking the hallowed names of Gianna and Christian (Versace and Lacroix, respectively) that seem unavoidable when confronted with this kind of fabulous, unbridled excess. There was a feeling of the unbridled too in Erdem's collection, an unbridled clash and crash of jarring prints in delicious autumnal shades. My favourite clash was of the raw and the rarefied, namely when that delicate watercolour-print silk sat atop chunky-heel hiking boots.

As our Newswire subscribers are hopefully aware, we are currently in the throes of filming a new series of shorts, aptly titled Object Fetish and focussed on key fashion pieces from next season (chosen by my good self). I could think of no finer focus for our inaugural film than these beauties from Miuccia Prada's latest Autumn/Winter collection - knitted 'socking' with cabled seam and patent leather loafers in a fetching shade of turquoise. We're about to begin filming with the lovely Emily from Storm and my video analysis of the item will be launched on site soon.

Could anything be more classic than the black leather jacket? Evidently Stuart Vevers thinks not - he's created twenty-odd of them (alongside a pair of second-skin trousers and a skintight skirt or two) as his latest offering for Loewe. The collection has been titled 'Leather Icons' and the moniker fits like a (kidskin) glove, utilising shearling and finest nappa to create a clutch of covetable outerwear pieces. And, for the first time, these pieces will be available in the UK - Harrods is the exclusive stockist of the collection, which graces rails in June. What will I be rifling the rails in search of? The perfect Perfecto, a sleek leather trench, a buckled sheepskin overcoat as soft and malleable as a dressing-gown and a classic calfskin blazer. Just to show how good they would all look on me, Loewe have also produced a broadsheet-sized newspaper-style look-book with the collection styled by Katie Grand on the disparate likes of Tricia Ronane, Simon Peritone and Eleonora Bose.

Brave new season, brave new world - well, brave new wardrobe at least, if you're donning Jil Sander's working-girl-with-a-grudge A/W 2010 power suiting. Forget all those Boss Women clichés of wide-shoulders, thigh-gripping skirts and easily-removed clip-on gilt earrings (all the better for those phone-conferences with the Tokyo office). Raf Simons instead reinvented suiting, with sutured tweeds, sliced-up wool and velcro-a-go-go inspired by the unlikely pairing of Lara Croft Tomb Raider and Anna Wintour in The September Issue. These garments warranted a second look - luckily, a press day is designed to give you just that, namely a chance to rip apart those velcro-ed seams and examine the topstitched tweeds as solid as a breastplate. 'Very Jil Sander' were the first words that fell out of my mouth, immediately echoed with 'THANK YOU!' from another fashion editor across the room. And very Jil Sander they did feel, obsessed as theta were with speed, freedom of movement and above all realism. The same spirit imbued the Jil Sander men's collection, sliced apart and reconfigured with organic patches of fabric that resembled nothing less than the automated panels shifting in the wings of a Boeing 747. At the same time, everything seemed practical and (pardon the pun) down to earth. I'm not just talking about the flat shoes, but about the resolute focus on daywear and twist away from showy catwalk theatrics. The Sander press day was located at the back of the Bond Street store - in retrospect, I couldn't help but wonder how many Sander customers had drifted in, brandishing credit cards and with the sudden urge to purchase lustily. I'd imagine more than a few.