PARIS — Louis Vuitton’s spring collection, designed by Marc Jacobs, is a colorful amalgam of fabrics, shapes, and sizes. With a palette of bright citrus and an emphasis on sheer overlays, the collection certainly has pieces that will be favorites, but it is a little too close to what Mr. Jacobs produced for his own collection in New York.

Upon entering the enormous tent in a courtyard outside the Louvre, the creative potential seemed exciting. The tent’s fabric was printed with overlapping covers of pulp fiction novels, all of which had the same formula — “Paris After Dark,” “Taipei After Dark,” and even the sleepy sounding “Copenhagen After Dark” — interspersed with the brand’s iconic LV logo.

Playing off the pulp fiction theme, Mr. Jacobs sent 12 major models — including Stephanie Seymour and Naomi Campbell — down the runway dressed as nurses and carrying handbags designed in collaboration with artist Richard Prince. Their nurse coats were padded on the rear ends to make these naughty nurses voluptuous. And the black, lace surgical masks lent an air of fashion noir to the proceedings. The dozen handbags ranged in shape from extra large sacks to clutches, but all were bright with color in gradations and tan leather trim.

From there, the dark, mysterious mood turned brighter and slightly nuttier. Deconstructed pieces of suits were placed on shirts with puffy tulle skirts; the best was a set of lapels draped as if it were a shawl. Vests were layered over blouses, and prim cardigans sported different fabrics on the front and back panels.

More in keeping with the pulp fiction theme, perhaps counterintuitively, were the few conservative pieces. A bright orange suit looked like something a lawyer-gone-wrong could fling off in a fit of passion. And the arm-length gloves, which could prove to be a hit, are less proper and more come hither. There were also a few fabrics that one would want to examine closer, such as what looked like the thinnest imaginable plastic used for a tan skirt. A mixed bag — well after dark.

At Chanel, stars were a visual theme, but not just those in the nighttime sky. Exhibiting signs of election-year enthusiasm, Karl Lagerfeld created a spring 2008 line that translated the American flag into Chanel speak.

A red-and-white striped jacket with classic Chanel fringe was dotted at the lapel with little campaign-style buttons. But forget “I Like Ike”— these buttons sported little photographs of Coco Chanel and the house logo. Other red-andwhite pieces, when paired with blue, starred fabric, are going to be hard to keep in stock. Has there ever been a more perfect uniform for the ladies who fund-raise?

The show started off with a series of pieces in pale denim — from bathing suits to blazers — that might work better in Los Angeles than in New York. But the real fun was in the designs that incorporated the star motif. Whether it was used on a long, flowing pair of pants or a simple dress in a modest cut, the glittering with gold stars on dark navy fabric had that Lagerfeld verve.

In keeping with his deft combination of tradition and modernity, Mr. Lagerfeld addressed sporty tennis togs. After a series of colorful sweaters and short skirts, the designer sent out a long pleated skirt (bearing one stripe near the bottom) paired with a long, cutaway jacket. It was as if the elongated silhouette of Madame Chanel’s original sportswear concept — utterly innovative at its time — was melded to a more romantic, almost villainous character. Coco meets Lestat, and it works, at least on the runway.

The set of the Chanel show incorporated a large blue platform and several tall sculptures — slanted and buckled, like wobbly cylinders in dark blue — from which the models emerged. Other settings this week have been similarly artistic.

At Hermès, an orange, textured wall served as the backdrop. From up above and out of sight, puffs of powdery red pigment were sent down the wall, at first in gentle trickles, then in great gusts. Jean Paul Gaultier’s collection for Hèrmes was inspired by India, so the color scheme gave the saristyle dresses a warm context. A gold lamé material updated the classic trench coat, and there were Nehru jackets in buttery soft leather. Silks being the house’s forte, a beautiful scarf shirt with a long train swept by with an air of Old World elegance. A few halter dresses in solid color jersey upped the sex appeal, as did the intensity of the colors used for the gowns.

Agnès B.’s wide-ranging collection was presented in front of a white canvas decorated with messages written in the brand’s signature cursive font. But after the show – designs ranged from mod minidresses to slim-cut striped suits to tunics in graphic-print florals — a team of graffiti artists (wearing black corduroy blazers) was dispatched. Within minutes, the white canvas looked like a New York subway car circa 1982. The scenery was dazzling at Kenzo, too, where designer Antonio Marras created a hanging jungle around which the models walked. Dense leaves, colorful strips of ribbon, and flat screens depicting jittery parrots provided a backdrop to a most vibrant collection: Intensely colorful embroidery on skirts and dresses made for an exuberant feel, as did the exaggerated shapes of the wide sleeves and skirts.

The décor was straightforward at Chloé, where designer Melim Andersson sent out a collection that was memorable for its flyaway bright whites dotted with colorful geometric designs and vivid brushstrokes. Shapes were varied, from loose and long dresses to short minis. Sheer layering was a key factor in building a sense of ethereal minimalism; overlays in soft grays or see-through leggings added dimension. Shoes here crept up the ankle with wide straps of cream patent leather, a fitting follow-up to the tall, buckled-in straps on the streets this winter.

Vanessa Bruno brought her signature, relaxed style to eveningwear at her show on Sunday morning. Deep purples, bright orange, and pale green pieces made it clear that Ms. Bruno is mixing things up and moving in a colorful direction. Several looks straddled the line between street clothes and loungewear. Summery tanks that hugged the body with elastic V-necks were especially coquettish. Silky shorts with fabric-tie waists, as well as sheer loose dresses emphasized the lingerie feel. A pretty pink fabric with silver sequins offered a whisper of the 1980s with its tulip closure. The last look was a flowing gown of deep, electric blue that seemed perfect for an indie actress accepting her awards.