Clare Waight Keller looked to early 1980s cinema like The Hunger and the cult film Lust & Sound in West-Berlin, taking in the brutalist cityscape of the city around 1980 for that sensibility, picturing its roguish nightlife through the atmospheric lens of film noir. You could see her long-line tailoring, sharp leather coats and slithering lingerie dresses roaming the arid metallic streets of Berlin by night, like something out of the black-and-white filtered minds of Helmut Newton or Robert Mapplethorpe, Bowie and Iggy scoring that fantasy. “Sass,” was her second revelation, a characteristic native to the early 1990s club scene in New York. There, Waight Keller said, she observed a similar sense of strength (and likely mischief) to the glamazons of fashion a decade before, in quirky character girls like Chloé Sevigny and Winona Ryder, who had their clubbing cliques and moody sense of glamour.The reference lent itself perfectly to filtering in the Hubert de Givenchy elements Waight Keller reverently observes: little party dresses structured rigidly with stiff cascading ruffles, sexy fringes and big bows inspired by the archives. She added to them voluminous sculptural faux fur coats, contrasting the sleek lines of her tailoring with the exuberance reflected in her couture debut. Waight Keller’s idea of the codes the now 100-year-old couturier, who she spent time with last year, was a lot raunchier than the polite Audrey Hepburn tradition.