PARIS — It began with the look of magic. From within the neoclassical Grand Palais, purple lights bathed the white stone entrance. Violet Diptyque candles gave the air a heavy scent. Inside the giant space, two six-level risers were dotted with purple cushions for roughly 1,000 guests. Between the seating was a raised runway containing a most unusual surface: a quarter-mile bed of violet plants. Through the glass ceiling — shimmering with the reflection of spotlights and flashbulbs — the French flag twisted in the wind.

And then the Yves Saint Laurent show began. Models in five-inch stiletto and platform heels walked down the runway of sod, and it was not a pretty sight. Though no one took a spill, there were several close calls as ankles buckled in the soft terrain, footing was lost, and plant life served as booby traps. Not only were the models trying to navigate the conditions, they were made to stop on circular platforms to pose for the crowd. Unfortunately, this generation of models does not appear to have mastered the skill of striking a dramatic pose. The poor things looked nervous enough about the plants, but the act of stopping and turning around on a space the size of a manhole turned their feet into an unglamorous tangle. If models had a union, its president would have dialed OSHA pronto.

As for the collection, it took a back seat to trepidation. Wide checked fabric — black or purple against white — was used in several looks. There were voluminous pants that tapered at the ankle. The best of the lot were two red-carpet gowns; one an undulating wave of violet fabric, another a gorgeous sail of white fabric dotted with violets and an open back impeded not even by sleeves (the front of the dress wrapped around the elbows). At times the show was a retrospective, but there were updates on the house style. They were, however, regrettably upstaged.

At Celine, an abstracted take on classic coats ruled the runway in bold style. Ivana Omazic updated the trench coat using everything from light-as-a-feather sheer white organza to silver python. The result was a vibrant collection that energized traditional shapes. Some looks were more imaginative than practical — surely, every girl needs a parka in sheer organza with a sporty, drawstring collar, worn over a lace sweater and short shorts. But the overall attitude was a jet-set liveliness.

As for suits, forget everyday office drudgery. Here were sculptural, perfectly tailored jackets that hugged the body and curved out from it gracefully. Among the best was a cream taffeta jacket with a wide, draped collar and a white shirt worn against the lapels; rarely does a suit look so romantic. Or so sexy: A suit of white stretch jersey and extra slim trousers was fitted in the jacket. Several belted jackets were cut with trompe-l’oeil holes at the sides; belts went around the jacket in the back, but slipped in and sat on the waist of trousers. (The effect left the front panels open, which made the models look pregnant from the side.)

The light, airy nature of the fabrics was carried over into dresses. A white sheath dress came with an abstracted rose print, and a mint silk dress was barely there. Sparkling white crystals were embroidered on a slim tulle dress, and gentle ruffles made a white “millefeuille” dress a delight.

Earlier in the day, Stella McCartney’s presentation took place with her famous father in attendance. Her work was well received. “It was Stella’s best show yet. It looked feminine and effortless, and yet you knew to took a deft hand,” the fashion director of InStyle magazine, Cindy Weber Cleary, said. “Theoretically, I wouldn’t like those oversize jumpers, but she handled volume very well. She never let it get away from her.”

The senior producer of NYCTV’s fashion coverage, Sarah Griffin, found a shift in the designer’s sense of prettiness. “It was a little more ‘designed’ than in the past, but not to the point that it was tricky,” she said.

The British accessories brand Mulberry used fashion week to present its spring collection at a showroom in the Bristol Hotel. New Yorkers will get to see much more of Mulberry this fall when two new stores open. The 1,000-square-foot Bleecker Street shop will be a neighbor with the Marc Jacob accessories store, and the 3,000-square-foot Madison Avenue shop will offer bags for men, as well as a ready-to-wear collection. The collection is small but focused; a beaded paisley dress and gold leather jacket were two highlights.

As for the Mulberry bags, the Gilles group is loaded with gold pyramid studs and spikes that could be handy in fending off unwanted advances on the subway. More traditional is the Chester collection, which includes a variety of useful shapes made from leather in colors like creamy vanilla and dark brown, accented with light brass hardware. Both New York shops will also offer custom design options.

While Mulberry plans its state-side push, one American brand has just celebrated its arrival in Paris. Last night, Brooks Brothers held a party in its new shop on the Rue Saint Honore. The shop looks just as a Brooks Brothers shop should, and the merchandise has not been altered for the European market. It seems to be working. “We’re getting a lot of Parisians,” the company’s chief executive, Claudio Del Vecchio, said, adding that this shop was a much-needed foothold in establishing the Brooks Brothers brand in Europe.

Though Wunderkind did not present on the Paris runway, the collection was shown in a gilt-edged salon near the Palias Royal. Spring looks included white suits with open latticework brushed with gold or mixed with bright blue pieces. A simple black dress with short sleeves and a swishy skirt came with little gold buttons, making for a sweet version of a classic. A series in blue seersucker improved on tradition by having the color fade from light to dark on a jacket. Without a doubt, this was an eclectic collection, incorporating fabrics from glen plaid to florals, from seersucker to silk.

Riccardo Tisci’s spring collection for Givenchy offered a high-concept, artistic view of fashion. There were a fair number of barely wearable, overly decorated dresses and loose one-legged jumpers, but in between those pieces were dresses and skirts that will stand out on the racks. A series of slim black dresses offered supreme detailing, either with sheer insets, cutouts, or extra wide belts that were perfectly proportioned. Hemlines skimmed the thighs, but not always in straight lines; several hems had rectangular notches cut out at the front of the skirt. Little black dresses, sure, but nothing’s that simple here.

Another grouping of dresses in an African print were shown with a head-to-toe approach: The tights, dress, and shoes were all of the same brown and white motif. Take away the tights and shoes and the dresses could be stunning. So, too, individual parts of a white series had dramatic shapes, including an elongated vest, a sheath dress with a bold circular design at the top, and slim skirts that gathered at the side.