PARIS — Color, color everywhere. Well, at least at Chanel and Louis Vuitton. These high-end labels have embraced the rainbow, as well as hemlines that will keep the ladies modest.

At Louis Vuitton, not only was color on display, but a strong emphasis on proportion. Volume has been an evolving story in the past few seasons, and Marc Jacobs cast everything on a large scale. Hemlines were long, and waistlines were high. Shoulders were accentuated, as were the hips. Several slim skirts had tailoring that made the body look encased in a soft, tulip-shaped wrapper. Other skirts were full and round, with a bit of asymmetrical fabric hanging down, as if a square tablecloth had been wrapped around the waist — and one corner was allowed to hang down.

Minidresses were included, but the collection was defined more by garments like a pink sheath dress of waxed rabbit fur cut to a belowthe-knee hemline and with shoulders that stopped short of a cap sleeve. Shown with a big white belt and, as most of the looks were, an oversize bag and beret, it was a dress that suggested how a runway idea can work in real life. For evening, a beautiful pale purple dress incorporated the exaggerated proportions: Crinkled satin was draped into random gathers under which a layer of degraded feathers peeked out with bounce. A few black pieces showed off the silhouettes nicely, such as a swing coat with an extra-wide circumference and a jaunty ruffle all around.

Although color held sway at Chanel, white was very much in evidence, too. The hall at the Grand Palais was taken over by a square runway dotted with rolling snowbanks, as puffy fabric clouds loomed above and strong light flooded the space. Into this bright landscape strolled models wearing a vivid collection that ranged from plaid to aqua to purple. All that color seemed to enhance the happy sophistication of Chanel: Why not have some fun in a winter wonderland?

The winter part of the equation was emphasized with several models wearing parkas and leggings or matching knitted hats and scarves. But L.L. Bean, this was not: a trim red coat with a square grid design and a black belt had pert short sleeves. In perhaps an homage to Jennifer Aniston in the 1999 film “Office Space,” some jackets were dotted with buttons that suggested rows of “flair.”

On the real-women front, there was a recurring look that had an alluring, yet sensible air: a sheer blouse under a vest with a kneelength, straight skirt. It wasn’t as flashy as the tight, go-go ski pants with black-on-white squares or the loose-fitting take on the classic Chanel suit in redbased geometric print. But it looked stylishly reliable. So too were pieces like a cream suit with gold braid and detailing. Again, this was a classic with fresh proportions: The hem was long, the waist was high, and the jacket was cropped with threequarter sleeves.

Tall boots were worn throughout the collection, as were shiny logo bracelets and handbags. The strong plaid fabrics may not be for everyone, but if winter always looked this chic, no one would live in Florida.

Devotees of black or shades thereof need not worry. Barbara Bui took up that mantle in fine form. Her collection was long on rock-star glamour with black patent leather skirts and cropped jackets. Shoulders were often trimmed with an extra lip of fabric or accentuated by a capelet. Fabrics ranged from shiny to iridescent to full on silver sparkles. If you’re ready to rock, this is what to wear.

Antonio Berardi kept the concept high-minded with pieces that were cut close to the body, several in gray and black. A series of dresses and tops in black (later repeated in cream) had layers of geometric decorations that succeeded in both accentuating the body and creating a flat plane of sculpture. At Elie Saab, the evening wear was divine in a palette of green, purple, and black. Mr. Saab used an element of contrast on several dresses: structural elements — such as bodices or short-shorts — were covered in paillettes, while sleeves, skirts, or capes floated in nearly transparent silk mousseline. Butterfly designs decorated the tops of some dresses, and batwing sleeves added to a sense of red-carpet drama.

Collette Dinnigan returned to the Paris runways, after a brief hiatus, with a collection that ranged from prim to powerful. One of the best looks was a white cardigan thrown over a sheer brown blouse and a skirt of interlocking flowers. It all made for the look of a wayward secretary on her way out for the evening.

If anyone holds the secret to French chic, it may be Vanessa Bruno. Her fall collection showed off her ability to trump trendiness with her take on modern chic. Oversize sweaters with wide collars were made in large knits. A light, gunmetal gray was used for a high-waisted short dress; strapless, short dresses were in no small supply. Leggings appeared frequently, though pants with the closure off to the side had more design appeal. Not only was the runway inspiring, but this was one deeply chic crowd — and loyal: The show took place at 10 a.m. on Sunday, an hour when Vanessa Bruno girls would just throw on leggings and a sweater and show up.