I’ve been salivating over shoes this week.

At yesterday’s Josh Goot show, I literally had to hold myself to the chair so as not to grab the two-toned platform wedges off the models’ feet. I’m not even sure if they were suede or slightly furry leather, but I want them alongside my imaginary collection of Charles Anastase stompers, Charlotte Olympia for Krystof platforms, Basso & Brooke elf shoes, Vivienne Westwood bondage sandals and everything else that I dream about.

The dresses and suits that went along with the shoes were pretty, too. There were two parts to the large collection: The first was a grouping of clingy, pinkish-beige and black, two-toned dresses, and the second made up of ruched pieces in what looked like a paint-splattered print.

Basically, I walked away from the show thinking about shoes and about how lovely it would be to be 5’10” and 110 pounds (ok, not really) so I could wear skin-tight nude dresses.

I swung backstage at Basso & Brooke about ten minutes before show time.

The first thing I noticed, besides the stunning sheer tea dress with beaded lace embroidered on top of it, was Stephen Jones holding court with his muse Anna Piaggi by a table full of very odd headbands.

“Can you tell me a bit about what you’ve done for the show?” I asked.

And as he answered, he started fitting them on my head. For the answer, check out Teen Vogue, but know that in my mind that’s like Christian Louboutin fitting a shoe on my foot - a major fashion moment.

Anyway, post-moment, I landed in my seat in the Bloomsbury Ballroom and watched Basso’s fantastical, brightly printed collection parade on by. This season their prints seemed focused on texture. Some were made to look like Greek columns, others fur, some lace, some zippers, almost all accessorized with hefty baroque looking jewelry. The shoes were elf-ish and the clutches had pearl handles which doubled as bracelets.

Also, there was crimped hair like the models also rocked at Erin Fetherston. One more show with crimped hair and I’m officially breaking out my vintage crimper when I get home.

Or the more appropriate question is, “Will you wear spring’s head gear?”

The runways have been inundated with hats. Catherine Holstein wrapped whole sweaters around the heads of her models. PPQ added I Dream of Jeannie-like toppers to their ruffly dresses and Luella splashed retro veiled hats and riding caps across her floral outfits.

We think some, like the sweaters at Holstein, might look super cool on the runway but stop short of realistically working on a regular girl’s head. Same goes for the PPQ hats - they’d induce a giggle or two at the even the most wacky New York party. And the swim caps at D&G - are they serious?

Luella’s little hats, while cute on Ali, Jourdan et. al, are the kind of thing we want to rock when we’re eighty-year-old eccentric ladies with a murky fashion past.

Right now, we’d love one of the sun hats from Trovata and Nicole Farhi, or even a mini Mary Poppins hat from Marc. And we’d obviously rock the giant bobby pins from Basso & Brooke, but we’re not even sure those are for sale.

If you don’t usually wear hats, will this spring’s wide selection make you change your mind? Or is this a look better left to runways/editorials/ads/models rather than mere mortals?

Namalee, 26, creative director of SuperSuper magazine.

Got Her: At the Basso & Brooke show at the Science Museum.

Stalked Her: Actually, she was sitting right across from us, so stalking wasn’t necessary this time, but we totally would’ve if we had to.

Shot Her: Because she was wearing neon blue tights with printed shoes and a differently printed skirt, topped with loads of jewelry and carrying a bag like we’ve never seen before. Also, her lipstick.

She Says: “It’s all Basso & Brooke. I mean, I styled the show for them so it’s only right that way.”

We Say: Right, Lite Bright, whatever, we love it.

If you’re super tall and skinny and in the market for an impossibly graphic, brightly gorgeous, expensive dress, Basso & Brooke’s got you covered.

The half British (Christopher Brooke) and half Brazilian (Bruno Basso) design duo showed a parade of new, Japanese-inspired ideas at the Science Museum yesterday.

Apparently, they design and build their dresses, then the graphic designer comes into the studio and draws prints on the floor, then the two are combined and sent down the runway. Everyone oohed and aahed over the woven silk dresses at the end, (sheer, obviously). We oohed and aahed over those tops and dresses on which the fabric gathered in the middle of each flower for a 3D effect. It’s nice to see something new on the runway.

The real story, however, is the shoes. Their printed platform was at least four inches, which means the heels, on which Japanese scenes were literally carved, had to be about seven. Sometimes they matched the pattern of the dress, sometimes they were totally different, but every single time a model made it down the runway and back without falling, the audience breathed a cumulative sigh of relief.

We could never pull off those dresses, but wearing those shoes on a daily basis would greatly improve our lives.

It’s true that this week, we swore off House of Holland for fear of overhype.

Unfortunately, he has some new t-shirts about to go on his website that are not just funny, but important, since they introduce some younger British designers that you may want to Google-image after smothering your laughter.

Our favorites:

Basso & Brooke

Christopher Kane

Richard Nicoll

There is also an ode to Pop Magazine, but we would have gone with… HYPE MY BRAND, KATIE GRAND.

When the new rave wave hit London two years ago, it was mostly underground and considered a fad - really, how long can neon tank dresses last?

Apparently they can last forever. This month boasts some major signs that rave is seeping deeper into street style, youth culture, and high fashion - a shocker even for the club kids who brought the movement back.

First, the new rave anthem Super Super just got a green light to produce twelve issues a year. That’s huge for a magazine that started as a leaflet in someone’s bedroom - and it reminds us of Paper’s rise twenty years ago.

Next, Pop Magazine puts Agyness on a day glo cover and features rave muse (and Basso & Brooke stylist) Namalee Bowles in a spread. Pop’s editor in chief is Katie Grand, a stylist who’s worked with Marc and McQueen and basically everyone else. This month, Katie decided to etch the words “Super Super” onto her own magazine’s cover.

And then there was Karl Lagerfeld, with the neon pink nails at his own show and the glow-in-the-dark eyes at Chanel.

Of course, as soon as a movement gets mainstream, something shifts with the kids who cause trends, so now the question is, what’s next?

Freshly dumped photos from the runway reveal Basso & Brooke’s latest obsession is the future - check out the digitized print on that dress, and about ten more from their new collection. This small detail is more significant than it seems because of this strange fact:

Bruno Basso, Chris Brooke, and the swirly troupe of party kids who illustrate their fabric and style their clothes are London club royalty, in the same vein as Gareth Pugh and his glittery tribe (this is Namalee Bowles, a B&B muse and stylist; this is Katie Shillington, Gareth’s muse who works at Dazed and Confused ).

If the label has latched onto futurism for the runway, you can bet you’ll see the trend in the clubs, and the streets, and the stages, and the music videos of all the underground kids in London. And that’s more valuable than the millions of dollars in sales that Basso will probably do in Russia and Italy this year, because it’s fashion come to life.

Now, who wants to help me make that hat?