Dominic Jones’s tough-luxe pieces take inspiration from the dark side of nature – thorns, claws, beetles and fangs.  Creating each piece in luxurious 22-carat gold, Dominic Jones makes gothic, romantic accessories insanely covetable!

Fang necklace: Original price – £395, Cocosa’s price – £149, Discount – 62%

Dominic Jones studied Contemporary Jewellery Design at Sir John Cass School of Art and stood out as one of the most promising members of  !WOWOW!, the South London art collective.

Dominic’s jewellery caught the attention of Alice Dellal, who became his financial backer, muse and now business partner.

Alice and her model/photographer pals appear in Dominic’s campaigns and have helped shape the hard-edged glam vision of the brand.

Single Claw Ring: Original price – £295, Cocosa’s price – £99, Discount – 66%

Thorn earrings: Original price – £225, Cocosa’s price – £79, Discount – 65%

Tooth ring: Original price – £225, Cocosa’s price – £79, Discount – 65%

Dominic Jones has been given the seal of approval from Anna Wintour and his adoring ambassadors include Beyonce, Vivienne Westwood, Lou Doillon and Sienna Miller.

His designs have even been championed by Sophia Neophitou, who commissioned him to accessorise the AW10 Thierry Mugler show.

Claw Knuckle Duster Ring: Original price – £455, Cocosa’s price – £149, Discount – 67%

Double Claw Ring: Original price – £405, Cocosa’s price – £139, Discount – 66%

Dominic Jones jewellery is available at Cocosa.com from 26th-29th November 2010.

With equal nods to pop art and spirituality, these velvet and plexi-glass heel platform court shoes are a cross between stained-glass windows and hard candy (Jolly Ranchers spring to mind).

As if that weren’t enough, each pair of jewel-toned heels and flats (yes, you read correctly) come with their own matching pair of luxe stockings with a glamorous back seam and woven spiders web in the same colour as the heel.  This is Charlotte Olympia’s debut hosiery collection and the stockings are also available to buy separately in store.

The stained-glass window trend continues with these killer courts and lattice sandals featuring Charlotte’s signature vertiginous slim heels, block platform and spiders web illustration on the sole.  Striking, bold metallic gem shades also make an appearance.

But if all that colour is just too much, Charlotte’s collection of ankle boots and shoe boots are a gothic girl’s dream.  Seductive corset detailing on the back reveals a contrasting textured leather heel and the Victoriana, laser-cut shoe boot with a delicate bow is the perfect mix of pretty and edgy (and very Alaïa).

Fierce, chunky-heeled biker boots don’t seem to be going anywhere, despite protestations of kitten heels, and Charlotte Olympia’s take on the new classic is spot on.  Yes, they are warrior-like in stature, but the buckles, laces and two-tone patent toe makes them super feminine and wearable.

Of course, Charlotte’s trademark leopard print hasn’t been forgotten and features on a range of platform pumps, sandals and even some flat lace-up ankle boots.  Her raspberry velvet wedges are also worth sticking on your wish list!

More of the Autumn/Winter 10 collection can be found at the Charlotte Olympia store on Maddox Street, Mayfair, and a selection is available to buy now at Luisa Via Roma.

As Tavi smartly pointed out, she is about half the size of the average fashion ed/celeb and the offending bow was shot with holes. Would any editor dare to strip Diane Pernet of her signature raised veil? Non, pas du tout!  So really, the crux of the matter is that the teen fashion prodigy has fast-tracked her way to the privileges that editors have spent years trying to cultivating and maintain and surprisingly enough, they don’t like it!

Couture is an industry clawing on by its teeth, so it’s no surprise that designers are consciously trying to appeal to a younger market – hence Tavi at Dior, Lady Gaga sporting Armani Privé and Valentino’s woodland neon nymphs.

The direction of the house of Valentino has been somewhat vague since the departure of Valentino Garavani.  His second set of predecessors and former Valentino accessories designers Maria Grazia Chiuri and Pier Paolo Piccioli began their assault on a new look brand with their romantic, sculptural A/W 09 collection, but this season they’ve gone wild and thrown the rulebook to the wind.

Valentino’s elegant woman has put her prim little suit in storage and turned into a to a cyber partygirl with a new best mate, Alice Dellal.  Blush and nude shades are carried over from the Autumn/Winter ready-to-wear collection, but this time they’re set off with flashes of fluorescent pink and yellow and silver (with more than a nod to Pam Hogg’s panelled catsuits).

Underneath the neon and sparkle, there are whispers of classic Valentino, with beautiful draping, volume and embellishment, but the pair really stick the knife in with their interpretation of  the iconic ‘Valentino red dress’.  There are three red dresses in the collection, the most outrageous being a red leather mini dress with waves of leather ruffles.

The sheer visors and ‘exotic bird’ make-up seem to reference Avatar and the models certainly have an eco-warrior vibe.  This unashamed attempt to appeal to a younger, ‘new money’ crowd hasn’t gone unnoticed, and their new rock ‘n’ roll image has sent shockwaves through Valentino’s clique.

Valentino’s partner Giancarlo Giammetti labelled the collection a ‘ridiculous circus’ and told WWD that both he and Valentino “are always supportive of the designers of Valentino, even if we don’t approve of their effort to be cool at all costs.”

A polar opposite collection was John Galliano’s historical, equestrian collection that looked back to the work of Belle Epoque designer Charles Lamb, who was also the inspiration for Christian Dior’s New Look collection in 1947.

Galliano cracked the whip, as models were sent down the catwalk in Edwardian riding jackets with nipped-in waists and peplums, checked skirts with bustles and top hats with veils.  Next up was cocktail hour with the most beautiful jewel coloured, gathered chiffon skirts, embellished jackets, halter-neck bustier shirts and draped dresses in Duchesse satin.

For evening wear, it was all about the most incredible ball gowns and Galliano found inspiration with ‘The Gibson Girls’, the illustrated feminine ideals at the turn of the century.  There were delicately structured satin bodices with voluminous, sculptural skirts in exquisite fabrics and a colour palette including dusky pink, raspberry, petrol, mauve and ice blue.

You can tell that Galliano lives for creating couture and the colours, craftsmanship and historical references make his shows the most anticipated of all.  Suzy Menkes acknowledged the beauty and emotion of the collection, but suggested that “it would be a fine thing if Mr. Galliano could just once make the starting point of Dior couture not fashion’s sweet memories but a clean sheet of paper on which he writes 2010.”

It’s interesting that designers who have been at the helm of Valentino for just over two seasons should cut away from the house’s heritage so significantly, while Galliano, who has made Dior his own since his arrival in 1996, still references Christian Dior’s most prominent collections like an old friend.

With rejuvenated houses such as Balmain, Givenchy and Balenciaga excelling commercially but losing part of their original identity (plus the closure of Christian Lacroix), I would personally drape myself in raspberry tulle in support of Galliano’s nostalgia over a label who is in the painful midst of a personality crisis.