“There were no big ideas,” he said backstage. “It was just that need to find something fresh and new for myself.” He found it in disparate references — gypsy flamencos, Ethiopian rugby jerseys, and Nineties minimalism suits — that he blended together and mellowed with a very light, modernist hand. The looks were not plain, but there were a clarity and cleanness to them.

Gypsy ruffles were streamlined into crisp cotton shirts that looked like a single piece of fabric simply cut a hole for one’s head, and asymmetrically tiered skirts worn in combinations of solid black and beige.

Sporty red and blue rugby stripes were refashioned as a relaxed sequined tank and slim gently reconstructed skirt. Spare tailoring was aerated, the sleeves sliced off a spare trench or a pinstriped blazer cropped and wrapped tight and worn over a matching handkerchief skirt.

Minimalist separates came alive in vivid color combinations — a neat beige jacket worn over a red trapeze shirt with a gently gathered hem and straight black pants. Anything that was spare was not stiff; anything bright also felt light. Maybe they weren’t big ideas, but they were good ideas.

Oscar D La Renta bring black across a white shirt, sweater, dress, even a mink coat tossed on over a tummy-baring denim jacket and jeans.  From afar, the script might read as thin, imperfect loopy stripes; conversely, the letters of his name were exploded into giant graphics rendered in vibrant sequins on an otherwise delicate gown.

The designers also added the notes of Emma Watson and Elle Fanning translated into prints.

Designer targets his style to younger consumers where he brings the flavour of splattered jeans and shirting romper (even sequined-splattered). Yet the designers won’t abandon their core client, wooing her with colorful, sporty separates. Some worked and some didn’t; blinding-bright blazers can swing snappy or elder-aunt.

The collection’s other much, even with the addition of commercial underpinnings: those multi color bonded leather on tulle collage affairs. Anyone more conservative than Helena Bonham Carter feeling frisky will probably pass. More successful evening looks went two ways, flamboyant arty columns and romantic embroidered and ombré’d tulles.

Cornejo added the essence of her Nineties’ revamped fluid tunic dresses in orange and hot-pink silk charmeuse, while a jacquard fabric featuring an archival bow pattern crafted into a chic kimono-inspired robe coat. And the geometric motif of Tennant’s top served as inspiration for multi color striped frocks and separates.

The designer brings the loose silhouettes infused with sophisticated, effortless elegance, but also played with more structured constructions. A sporty kick was introduced via a short-sleeved zippered hoodie printed with a poem written by Borthwick (Cornejo’s husband), which was first splashed on T-shirts.

The range of denim pieces was also a tribute to the brand’s early collections: They included asymmetric skirts with pleated details, as well as sharp-cut pants with contrasting stitching in black and indigo hues.