Naomi Campbell, the ‘ultimate Versace woman’ according to creative director Donatella, opened and closed the Atelier Versace autumn 2013 show in Paris this evening, to whoops and applause from the crowd, which included Christopher Kane, who gazed adoringly at her from the front row.

What a great move: despite the time elapsed since she mimed to George Michael’s Freedom in Gianni Versace’s 1990 show, Campbell still feels right for the brand – and is a nostalgia-tinted reason that many still buy into it. It was a tighty-Nineties Versace dress, let’s not forget, that Kane saved up for as a teenager to give to his sister, as the embodiment of all that was fashionable, feminine and fabulous.

The collection tonight didn't disappoint on those counts, nor on those aspects that make a couture collection feel that a cut above the usual off-the-peg pieces.

The clothes were literally dazzling, covered in micro-sequins and dripping with beads, replete with mink trim and crocodile. Sharply cut tailoring fell and draped around the body, thanks to cunning hook and eyes (outlined with sparkling Swarovski crystals, of course), that allowed panels to peel away from the body in a state of seductive disarray. 

Donatella Versace knows that, however picky they are about getting dressed, her clients are just as good, if not better, at undressing too. She never fails to hammer that innate sexy glamour home, but tailored elements, sleek construction and tougher pieces (such a as cropped crocodile biker jacket, sharp of shoulder and wide of lapel) meant it didn't feel sleazy or cartoonish.

There was sheer tulle panelling across the yokes of velvet and heavily beaded dresses in midnight, oxblood and forest green. More of this snaked sensually around the body on jumpsuits and warrior-style bustier gowns; one cocktail dress was half lace bodice and bra-cup, not so much underwear detailing as downright deshabille.

For all the frosting and fur (cleverly knitted in staccato hand-cut tufts into complex laced and cobweb sweaters and cardigans) the pieces felt relevant and modern, with just the right level of knowing spangles and not a whit more.

Donatella Versace has given her customers exactly what they wanted this season, across all the markets she caters to. For ready to wear in February, she called ‘Vunk’, the Italian house’s take on punk, ahead of the Met's exhibition. As a movement, it sartorially suited the label down to the ground: big on black, sexiness and jingling embellishment. For her diffusion line Versus, she enlisted the talents of man-of-the-moment JW Anderson, who took the brand’s directives in a new and youthful direction, and launched it with a blogger-friendly party in New York in April.

And now, to close autumn 2013, she presented her couture line, with all the pomp and celebrity one might expect.

Every Versace show is a display of bravura from one of the most recognisable and recognised labels in the world. But the Atelier autumn 13 collection was no empty spectacle. It felt cleverly targeted - to film stars (Uma Thurman sat front row) and wealthy private clients alike. After all, you could easily hook those panels back up if you were feeling prudish.

Versace is adept at laying out her stall and dictating a certain unapologetic aesthetic; to do this without either alienating or losing authenticity is impressive. To do this while offering options that appeal across the board, from that supermodel heritage to a new generation of customers, is something to be praised.