It's been one heck of a year for Georgia May Jagger. She held her own amidst a pack of supermodels — including Kate Moss and Naomi Campbell — at the Olympics' closing ceremony, she fronted Vivienne Westwood's gorgeous new jewelry campaign, and she took the world by storm for Hudson Jeans' smoldering Cabaret launch. Fitting then that the gap-toothed Brit would finish 2012 with a bang: surrounded by sparklers and confetti in the just-released Material Girl holiday campaign.

Prabal Gurung's latest offering might be the most inventive blending of art and commerce we've seen from the Pre-Fall 2013 collections so far.

The designer managed to distill references as disparate as his homeland of Nepal and Baz Luhrmann's 1996 film Romeo + Juliet, parts of which were filmed in Mexico, into a collection that preserved the visual appeal of his last outing without mimicking all of its embellishment. A metallic tweed in bright neon blue, green, and pink was combined with black fabric for a lightweight coat and a shift dress, and floral prints and patterns dominated where solid blocks of color or black and white did not.

There were a few dresses that Gurung couldn't help decorating, though, most notably a black dress with panels of white and purple fabric that got covered in a lattice of blue and green blooms. That dress, like so many others in this collection, struck the hard-to-get balance between a dream and something you can actually buy and wear.

Photos courtesy of Prabal Gurung.

For Proenza Schouler's Pre-Fall 2013 offering, Jack McCollough and Lazaro Hernandez applied a mix of inventive patterns and imagery to the shapes they've had success with in the past.

The blue and orange hues from photographs the designing duo took on a trip to Fiji ended up on a number of pieces, most notably a coat with an asymmetrical neckline. A painterly logo print got cut up for trousers cut on the bias and a belted shift with a carwash hem.

That these pieces are simpler in shape and implication than their runway counterparts — as most precollections are — may have to do with McCollough and Hernandez's new roles as retailers who want to sell product. But it could also very well be a sign that after a decade in the business, these two young men are growing up.

Look to any part of Diane von Furstenberg's story and you're bound to see some variation of the line "I always wanted to live a man's life in a woman's body." Is it any wonder then that for Pre-Fall 2013, the designer took traditional menswear tropes and adapted them for the female form?

Von Furstenberg said she was thinking about Mick Jagger, and specifically about how he dressed when he was with Marianne Faithfull in the late '60s. You can see that in the prints here, all borrowed from men's neckties, and the energy behind some of the suiting. The bold graphic pop of a black and white skirt paired with a matching, asymmetrical cardigan jacket is decidedly masculine, even if the shape isn't.

This is the first collection from von Furstenberg since creative director Yvan Mispelaere left the brand in September, and the richness of his color mixing is noticeably absent. The palette sticks mostly to black, white, cobalt, and yellow, and there are a few pieces in appealingly dark shades of red — but even those tend to be monochromatic. Still, they're sure to come in handy for the transition to Fall, and so are the quietly colorblocked coats on offer.

Photos courtesy of Diane von Furstenberg.

Ruby Jean Wilson, the 18-year-old model who opened and closed Marc Jacobs's Spring 2013 show, stars in the collection's ad campaign — and a first look just made its way online. Juergen Teller shot the ads, in which Wilson preserved the Edie Sedgwick look she adopted for the show.

Jacobs's campaign is among the first of what will undoubtedly be many campaigns for the Scottish-born beauty, who started modeling in 2009 and made her runway debut in Lacoste's Spring 2011 show. Since then she's appeared in editorials for Teen Vogue, Dazed & Confused, Oyster, and Wonderland, among others. Wilson also starred in the Fall 2012 campaign for the Australian brand Jac + Jack.

A first look at Wilson's Marc Jacobs campaign — and some of her past work — here in the gallery.

Oscar de la Renta's collections tend to run wide and deep, and his Pre-Fall 2013 offering is no different.

But what was different about this show was the designer's experimenting with a new silhouette: slightly high-waisted A-line skirts that stopped just below the calves. These were paired with jackets cut from the same cloth, or belted with shirts tucked in.

The rest of the collection featured all of de la Renta's customary treatments, but they were applied with a lighter hand. The jewels we saw decorating his Spring 2013 and Fall 2012 collections were restricted here to necklaces, brooches, and the crystals applied to a selection of evening gowns, and floral embellishments that are so much a part of his language were mostly confined to prints.

One pale blue dress cleverly used pink and blue paillettes to simulate blurry, pixelated roses. The model walked by as Marvin Gaye belted out the lyrics to "Ain't Nothing Like the Real Thing," but we'd be just as happy with the roses on this dress as a bouquet of live blooms.

We spend all year drooling over the best of the best, so is it any wonder that when the holidays finally roll around we set our sights high? Yes, we know we'll never really get that Chanel surfboard or that solid gold iPhone case, but you know what they say: dreaming is free. So on that note, here it is: our if-money-were-no-object, pie-in-the-sky wish list for holiday 2012.

Most designers don't try to reinvent the wheel with their Pre-Fall collections, but Olivier Theyskens isn't most designers. So even though he said he "wanted everything to feel really essential" in his most recent Theyskens' Theory collection, that sentiment didn't stop him from being a little forward thinking.

Take for example, the multifunctional pieces here, like a jacket and miniskirt that combine to look like a belted coat, or a white poplin shirt long enough to be worn as a dress. (Theyskens instead showed the shirt tucked into a white A-line skirt.)

Elsewhere, fine-tuned basics dominated, like a slim-sleeve raglan sweatshirt, a dress made of denim, and several pairs of trousers cropped at the ankle. A subtle tartan added a flair to a trench coat and some shirts. Otherwise, the only print was one inspired by one of the essential things that holds New York City together: scaffolding.

Photos courtesy of Theyskens' Theory.