That texture clash produced some compelling results that looked to comprise what the front row is calling “the Phoebe audition” - a bid to capture the hearts and wallets of Philo’s acolytes. There were indeed several looks that wouldn’t have looked out of place on a Céline catwalk: a beautifully cut black jumpsuit, a crochet dress with a fringed wool trim, generously cut, wide-leg trousers in slightly awkward shades.
But that would be a reductive way to sum up a collection that was exacting in its attempt to major in elegant wearability. The Meiers have been gently pushing the boundaries of the stiff, sober, intellectual Jil Sander woman since they started, turning out beautifully made clothes that possess a quiet femininity, what Lucie, with her Dior couture house training, calls “warmth”. Their starting point was uniforms, which led to thoughts of boxers and ballerinas, “people who are wearing the same clothes every day to focus on getting better at something,” explained Luke. “We were interested in the moment when all that training and rigidity goes out the window, the moment when they have to perform. Boxing and ballet are both rigid, sober disciplines, but in the moment of performance there’s a release - they’re very free.” Thus, strict boxy jackets were paired with short plissé skirts; crisp coated cotton market dresses with soft leather boxing boots. Straight shirts with chunky cuffs, a slinky navy tabard worn over wide-legged trousers, a black origami-crisp satin wrap dress all looked delightfully easy to pull off. Equally appealing were the chic boxy patent bags that looked like briefcases .