A backlit image of Botticelli's Primavera set the stage for an ethereally elegant Trelise Cooper collection, one of the designer's strongest - and simplest - in many seasons.
The Renaissance references were obvious, with the beautiful backdrop looking like a stained glass panel from a Cathedral. Screen-printed fabrics featured sections of the painting, statuary and high church stonework detail.
Her usually glamazon models had morphed into mussed-up angels with hair a little askew and lips a promise of pink. There was something of a darkly rich Venetian and Visconti mood in how their delicate look contrasted with sharp black suiting and a little leather.
Creamy elegant pieces also featured as did trademark frock coats, peplum jackets and pencil skirts. There was less of the flounce than usual, but still enough flirty soft pieces to save the high-glam from being at all gothic.
Satin palazzo pants draped beautifully, capes lent drama and furs added to the luxe look.
By supplementing a lot of black creamy, peachy nude tones and a little chocolate wool suiting, with a few shots of rich red and green, attention stayed on the clothes. These included a striking origami-like jacket and scalloping.
There was also less of the bling thing, with sequins shrouded under chiffon or used in an interesting argyle pattern. The overall effect was coherent and classy.
The younger, more casual, Cooper line featured floral print jeans, shearling jackets with toggles, khaki shorts with a frilled hem, some pretty pink and cream Fair Isle cardis and cable knit jumpers.
The cable knit pattern was screened on to a silk tabard given interest by the addition of a wool cable sewn into the side seam.