HOW do you redefine haute couture for the 21st century? It’s a question that fashion designers, the Chambre Syndicale (the governing body that organises couture) and journalists have been trying to answer for a while now.

For some, the couture shows that began yesterday are viewed as one big and vastly expensive marketing tool, from which to peddle endless cosmetics and perfume lines.

Purists, however, will argue that it is still an art form in itself; the chance to spend two weeks hand-stitching appliqué roses on to swaths of tulle layers and blow the commercial consequences.

Whatever it is, this often self-indulgent exercise is seeking to find relevance in today’s climate. The weakening of the US dollar means that, for many American socialites, the average price of a couture dress has risen some 60 per cent in ten years. Some private clients even admit attending these presentations for the sheer spectacle rather than looking to buy.

For the moment, at least, most couture is headed for the Oscars. That’s where Giorgio Armani, the designer who has enjoyed many a red-carpet moment, certainly slots in.

The concept of couture might sit oddly with a man who is renowned for an almost Teutonic pragmatism, someone who detests the fanfare and showier aspects.

He has lamented that couture has lost its connection with real people (all relative, of course, when you’re discussing a five-figure price tag) and become more like theatre.

With this in mind, Armani Privé, which launched last January, is concerned with clothes that are designed to sell rather than remain entertainment. What they are not about are the high jinks that John Galliano provides at Dior.

At the former, there was a refined Italian exuberance to royal blue organza gowns with intricately cut fan-shaped skirts and bodices sprinkled with diamond drops.

The latter was more “Marie-Antoinette, I’ll see you in Hell”, with its dark French Revolution overtones, 1789 calligraphy tattoos on the models, blood-splattered bustle skirts and corseted, bondage-leather, skinny trousers, complete with Galliano as The Libertine’s Johnny Depp (or the executioner?) to take his bow. All as gory as it was heavy-handed.

This will not be remembered as one of Galliano’s knock-out collections. Despite a reported sales growth of 14 per cent for the couture side of the brand, not many, one would hazard a guess, will be rushing out for the scarlet, floor-length capes, or skirt hems made from skulls encrusted in diamonds.

None of this could have been further from Armani’s vision. Day-wear trouser suits appeared only a slight notch up from his ready-to-wear, but there were some beautiful evening gowns with delicate crinoline passementerie and embroidered and pleated tulle.

At between €18,000 and €65,0000 (£12,000 to £44,000), his clothes are also around the lower to mid reaches of Dior and Chanel, thereby providing a more accessible entry point.

Armani Privé was conceived primarily to cater to the top end of his client base. “Even if couture were to die, I would still provide this service to VIPs, just perhaps in another guise,” he said.

Who knows, that might, for the moment, be the answer.

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