It’s a very British thing, that relationship between its most renowned and immaculate tailors and its most rebellious and debauched musicians. In the 60s, this dialogue between style and sound changed everything; just because you’re fast and loose with a six-string, it doesn’t mean you apply the same ethos to your tailoring. Think of the Rolling Stones in their boating blazers, or The Kinks in their Carnaby Street get-ups.

And so this season, dunhill creative director Simon Holloway looked towards both the dress codes of English aristocracy, and their surprising influence on the rebellion of rock icons – specifically name-checking the late, great, Charlie Watts, and the ever immaculate Bryan Ferry.

With such a moodboard, Holloway loosened a few buttons, pulled up some sleeves, and popped collars like Cantona. A rakish silhouette informed this season’s suiting, often decorated with Regency stripes and over-scaled checks – worn loose, and with subtle disobedience – mixing with pieces drawn from the house’s motor legacy; car coats, driving blazers, and a great leather bomber. Vibrant candy colour pops brought a pop art sensibility to lush lounge suits, while polos on polos, playful colour-block shorts and striped ties injected an American preppiness into the collection. Baseball caps walked alongside Panama hats, linen tailoring alongside Japanese denim, and men alongside their dogs – some models walked canine companions down the runway, looking equally elegant, we must say.