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The theme was "Africa: A Safari," as Hall (who is an African-American originally from Detroit) looks "to my personal roots" and takes inspiration from "Dinka, Maasai, and Zulu tribes to the antelopes and zebras" that roam that vast continent. Hall even went so far as to use fabrics, beading, and jewelry designed and created by artisans in Africa, including mud cloth and painted twill. From the first look, a "Nomadic fitted sheath" in tones of brown, white, and tan to the last, a white strapless wedding dress adorned with a colorful ceremonial Maasai wedding neckpiece, the designer successfully evoked the feel of Africa while staying as sophisticated as he has always been.

Gasps of wonder and applause met many of his dresses as the models emerged onto the runway of the packed Main Tent. Some, like the elegant Serengeti silk printed bustier gown and the shorter sheath in the same pattern, evoked the sun rising over the desert in shimmering shades of cream, brown, and rust, while others, like the multi-colored tribal embroidered dress, gave off an easy, more casual yet chic vibe. Other daywear looks featured a strikingly bold black-and-white zebra print on a "dashiki" (long tunic), studded with glittery crystals and worn over slim white silk pants; and a slightly deconstructed tan raw silk jacket worn over matching walking shorts and oversize hat.

But Hall's trademark is eveningwear, and his Spring 2008 collection of gowns did not disappoint, as he continued to mine his extremely flattering silhouettes – think bustier, halter, or crisscross straps up top, snug waists, and long, flowing bottoms – changed up with a touch of Africa. One stunner was the Nebele painted bustier gown, a fabric created by artist Sharon Fauvel, gorgeous blocks of yellow, green, blue, and red worn with a stack of brightly-patterned tribal bracelets. Another great look: Hall's leopard-patterned silk gown with a plunging neckline, adorned with an elaborately beaded waist.

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The show was all about dressy dresses, done mostly in form-fitting shimmering satin and silk. The first look set the tone, a brilliant emerald-green cocktail dress with an off-the-shoulder cowl neckline, sleek and feminine and perfect for that upcoming holiday party. A series of short dresses followed, in brilliant orange (she calls it "lipstick"), canary yellow, hot pink; the best of the group was a two-toned orchid and purple corset dress, with light orchid ribbons of contrasting setting off the model's bosom beautifully. Other fun short looks in the collection included a modern-print slip-like corset dress and another bright emerald look done with a blouson top and tight miniskirt.

But most of the Dina Bar-El collection focused on gowns. Most featured slim lines through the hip, widening out to a flowing bottom, with varied tops. Some, like a stunning bra-top gown with rhinestones set into the straps, used ombre (that one was "sunset," varying tones of orange, red, and yellow) satin to excellent effect; others, had a Grecian effect, with plunging necklines and ribbon banding, including Bar-El's single wedding gown that closed the show.

The only slight stumbles in an otherwise extremely elegant and wearable show were the dresses (both long and short) that featured ruching across the midriff. Those were so unforgiving that even the super-skinny models looked like they had poochy stomachs, obviously not a look that any self-respecting non-pregnant female wants to present to the world.

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But that skin show was nothing to what Christian Audigier presented on the women. There was the white micro-mini tee-shirt dress, worn over tan panties, garter belt, and sheer stockings ; the black bra, garter belt, and sheer stockings worn with a wide-open olive-toned raincoat; skin-tight patterned gold leggings worn with a slouchy, off-the-shoulder patterned tee (shades of "Flashdance" and Eighties style there); and a black bra, paired with a black feather boa, and a see-through pair of tan knickers worn over black panties. Hooker chic, indeed, and the sort of streetwear that sends a working-girl message.

Audigier's capper, a series of looks that combined completely sheer tulle skirts in bright colors of pink, green and electric blue displaying the panties and garters underneath, paired with hoodies and matching berets, are an evening look that isn't likely to make it to any Hollywood red carpets.

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To make sure the women in the audience (including Brandy, Bai Ling, and chart-topping singer Bettina) got a little eye candy, the designer sent a few male models out wearing nothing but a skimpy pair of camouflage underwear, then added a variation of hooded superhero capes worn over the undies, unzipped for effect at runway's end. One was covered in marijuana leaves, another a variation of the American flag.

But that skin show was nothing to what Christian Audigier presented on the women. There was the white micro-mini tee-shirt dress, worn over tan panties, garter belt, and sheer stockings ; the black bra, garter belt, and sheer stockings worn with a wide-open olive-toned raincoat; skin-tight patterned gold leggings worn with a slouchy, off-the-shoulder patterned tee (shades of "Flashdance" and Eighties style there); and a black bra, paired with a black feather boa, and a see-through pair of tan knickers worn over black panties. Hooker chic, indeed, and the sort of streetwear that sends a working-girl message.

Audigier's capper, a series of looks that combined completely sheer tulle skirts in bright colors of pink, green and electric blue displaying the panties and garters underneath, paired with hoodies and matching berets, are an evening look that isn't likely to make it to any Hollywood red carpets.

But as David Hasselhoff, who brought his teenage daughter Hayley to see the collection, commented to Audigier after the show, "I liked it; the girls looked great!" No word on whether he'll let his girl show her Audigier underwear in public, however.

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The men fared better than the women in the Audigier show; they mostly wore his signature wildly patterned oversize hoodies, all embellished with the designer's name and assorted other motifs, usually executed in glittery crystals, studding, and embroidery. Most were paired with jeans, encrusted with Audigier's huge signature across the backside, again done in glitter, sometimes paired with a giant skull, other times with similar tattoo-inspired motifs. There was a military bent to many of the men's styles, too; the first male model even wore a military beret and saluted the photographers at the end of the runway. Vests were big, too, and long, slouchy cutoff pants added a street gang vibe.

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Emblazoned onto a cool gray cashmere sweatshirt, partially hidden as the pattern of a jet-black, dimpled trench or, most spectacularly, used in a racy metallic vest, the YSL signature was the leit motif of the show, even as Pilati subverted the logo.

The three letters were a metaphor for Stefano Pilati's reign as Saint Laurent's creative director, which has been a delicate balancing act between deference and subversion.

"Let's be honest my job at Saint Laurent has been to respect the house and all it stands for while at the same time tearing it down," the lithe and ever dandy Pilati told FWD post show.

This highly tailored spring summer 2008 collection also stood way apart from the whole Milan and Paris seasons. In a moment of florid abandon and dreamy nature fabrics, Pilati did not show any prints. And in a month when designers dress women for picnics and fantasy balls, Pilati attired them for chic urban living.

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And to the suggestion that "The Darjeeling Limited" should have been held back from its planned limited release schedule until next year, when the furor over Wilson's suicide attempt would have quieted, Anderson insisted that that was never a consideration.

"That's not what I wanted, which is why it's not happening like that and that's not what Owen wants. He's very happy that we're releasing it now."

Also happy about the film's premiere were the scads of friends who joined Anderson and his troupe for the screening and after party in the Academy's lobby, including Anjelica Huston, Paul Rudd, Jonah Hill, Fisher Stevens, James Van Der Beek, Talia Shire, Bud Cort, and Kelly Lynch

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Ironically, his depressed character in the quirky new film crashes his motorcycle; so is it a case of life imitating art, or vice versa?

As Wes Anderson commented to reporters earlier, the film is just a movie, nothing more, nothing less. And he hopes audiences will get beyond Wilson's private troubles and just enjoy the picture for what it is.

"I feel people, nobody ever looks at [my movies] in the way that I thought they were going to anyway. So that's fine and I think the movie stands on its own. I love what Owen does in the movie. So that's where I land on that," Anderson said.