Pugh has an incredible way with fluidity, but he always tends to gravitate towards angles – sharp shoulders, exaggerated triangles. While enveloping, wrap-around jackets made an appearance, alongside sweeping wide-leg trousers, it was the stiffer tailoring that seemed to define the collection. On remembering the power dressing of the eighties and the years where to be taken seriously woman had to dress like a man, I wondered, at first, why Pugh would latch on to such a conservative idea. But then, look closely, and this felt like a parody of that – the models cheeks were hitched up with wire to suggest a fake, cartoon woman. Indeed, this woman wasn’t seeking to blend in the boardroom, but terrify in the boardroom. Those Hannibal Lecter masks certainly suggested she was ready and willing to eat you alive. It seems lazy or cliched to call Pugh’s work futuristic, but he does sometimes seem to cater to some super human creature – one unruffled by real life.