FEAST YOUR EYES ON LUXURIOUS but wearable fashion. In Paris, Couture Week saw a movable feast of luxury outfits cut from rare fabrics and real fur, beaded and embroidered, which are made to measure and labor-intensive. They are undeniably the world?s most tasteful, most beautiful bespoke clothing ready for Autumne-Hiver 2010-2011.

In the last mid-century, Paris dictated and created real clothes for real clients. But the glamour-ridden life started to decline with the advent of pret-a-porter in the ?60s. In the ?70s, at least 50 haute designers, members of the super snooty Chambre des Syndicale du Haute Couture, had to show a collection of at least 45 pieces twice a year. Today not even a Top 10 exists.

So couture as an exclusive way of dressing may become extinct soon. But for the French economy, which relies on the collection presentations?a veritable extravaganza?to fuel the luxury trade and influence sales of other product lines?from makeup to fragrances, from bags to shoes?the 100-year tradition must not die.

But to stave off death, couture collections must address the needs of the new decade. They must be wearable.

Chanel by Karl Lagerfeld showed mostly daywear, an all-silver collection (not a single gold button or chain anywhere).

The collection caters to a shrinking list of 400 truly exclusive clients.

Most of the Chanel suits were above the knee and fitted like knits like mercury and quick silver.

Evening wear was astonishing with new beadwork. One couldn?t tell where the diamond estate necklaces were attached; they became part of the ensemble, all executed in light pearlized shade of pale, from crème anglaise to nude, all shod with lovable silver patent or kid leather booties.

?This show came to me like a thunderbolt at 5 a.m., it is centered in the present time, hurtling toward the constant moment in the now,? said Lagerfeld.

At the House of Dior, John Galliano distilled his flamboyant style to marked minimal maturity of edited, separate pieces, riding jackets, skirts and gowns.

Studying the genius of Charles James, whose double-bias skirts inspired Dior?s 1946 New Look, Galliano did an all-duchesse satin-and-lace collection in frozen frothy sorbet colors such as peach, white, pistachio and silver and green tea.

He began with the ultimate equestriennes. John Galliano, it seems, is back on the saddle again.

Riccardo Tisci for Givenchy paid homage to maquillage genius and photographer Serge Lutens, whose ?70s images for Dior and Shiseido were the DNA of this sexy yet elegant collection that mixed velvets and lace, feathers and ruffles to an obsessive, compulsive degree, which makes collecting pieces from Givenchy a sound investment.

Giorgio Armani presented what could be a preview of the red-carpet fashion he would parade next month in the Oscar awards, where he?s always a favorite.

?The romantic shape of a crescent moon was my springboard for this collection,? he said.

A moon river of ultra-chic, snobbish daywear opened the collection. The color of elusive moonlight in mesmerizing silver, round or egg-shaped, was on the seams, shoulders and jacket lapels.

Even giant crescent-shaped brooches closed Armani?s famous Spencer jackets, navel-baring tunic coats and evening cardigans.