There was nothing much shy about Jean-Paul Gaultier's haute couture collection. Instead, 'sauvage' is probably the best way to describe it, not least because of the leopard spots stamped across everything from fur collars and cuffs to crystal embroidered flapper dresses and from a model's blonde chignon to her stockings and shoes.
The clue was in the names - each exit had one. 'Lady Killer', 'Kill Bill', 'Suffragette City' and so forth. Gaultier's aesthetic is certainly not demure and this season, more than ever, he appeared keen to drive that message home.
Trouser suits - this designer loves them - came with a sharp, masculine shoulder, cinched at the waist with wrestling belts and with long lean pants. The seams of one, in grey flannel, were traced with glittering jewels. More feminine but still far from flou were exaggerated hour-glass dresses and jumpsuits made all the more voluptuous by the quilting coiling across their ballet slipper pink, crimson or gold silk surfaces. Gentler were double layered chiffon gowns - forest green over lavender, black over brown - and a knee-length A-line variation on a similar theme.
Of course, there was corsetry and caging. And visual jokes aplenty too. Most prominent among the latter were 'ice-cream cone pockets' which caused hips to come to a point so sharp they would warn off unsuspecting passers by: come and get me if you dare.
Finally, lest anyone was in any doubt who was boss here, the impression of height and power was only added to by talon-heeled courts and towering hair pieces - those ice-cream cones again perhaps? And it should come as no great surprise that the bride was wearing trousers. No blushing required.