Three long, ethereal notes cut the silence in the moments before Craig Green’s show began yesterday. So many octaves high, so delicate your ears strained to hear them, but enter the staccato waves of a myriad more violin voices and what you had was the unveiling of a much anticipated collection set to Max Richter’s November.

Three seasons in, Green’s oeuvre is set. We’re familiar with the ceremonial-utility duality that runs across his work, notions of vulnerability and honour traced across his use of armour-like silhouettes and blocked colour palettes. Craig’s skill with theme and reference is set, awarded with a finalist’s place in the esteemed LVMH competition this year, and most recently marked by his visceral campaign collaboration with Nick Knight, released only a couple of days ago.    

If yesterday’s show felt familiar, that’s because it was. The trick being to pick out the symphony of growth shoots that underpinned it – Green’s bold widening of his colour palette, making a strong shift away from past seasons’ autonomously one-colour looks to weave triumphant tones of yellow, red, and orange into barely there blue and a powerful shade of namesake green. Green’s sails remained, slashed to reveal shapes of chest and stomach, while his sense of humour shone through in the tying of fabric, nipple-like, at two points on the chest, elsewhere gushing through circular holes in body conscious knit tops. Silhouettes were softer here, less padded there, fabric flowed with ease and this designer’s craft was laid bare.

The fact that they were worn by both male and female models was interesting – a clever nod to the reality of Green’s quickly amassing female following. This season is the first that will see his clothes sized for women.

The show closed with another Richter moment, this time the composer’s joyous reigniting of Vivaldi’s Four Seasons. The fantastic chaos of Spring, a celebration of now and the thrill of the future. What Green will rise with next is anyone’s guess – and that’s what keeps us watching.