Ever since Gareth Pugh left London’s Fashion Week scene, London has not been the same. Yes there are still the vagaries of the London scene like a Charlie Le Mindu or just something completely off beat. But with Pugh in London, you could always expect the unknown. He’s brought that to Paris, just by turning it up a notch, or two, or three. Eric Wilson of the New York Times stated that watching Pugh’s collection over six years is like “watching a “True Blood” marathon. A vampire’s lust for the goth aesthetic is a given in Mr. Pugh’s eternally watchable world of cobweb skirts and leather dusters.”

Sure, that’s one takeaway. But here’s another: look past the brooding makeup and the goth pageantry and you’ll find a beautiful aesthetic with an edge. It’s to the left and deservedly so. Pugh put together for this season a series of gowns that provided the true futuristic heir to 15th century looks. If you could imagine time-warping from 15th century Spain into this century and ignore all the fashion turns in-between, that’s exactly what I saw and imagined. Pugh flirted with flaring at the waist, but brought it back in with a rigid discipline. There was a gypsy like quality to it. This was not London Gareth Pugh, this was Paris Gareth Pugh and the sea that divides the two has never been wider.