Miu Miu was A-star. First came Kristin Scott Thomas in a grey woollen coat, then Luther Ford in a cosy rollneck, louche trousers and rubber gloves. Gigi Hadid swiftly followed in a faux fur coat, then Little Simz in a rebellious school uniform look, and Ethel Cain wearing an untucked blue shirt and knee-high black biker boots. A lot of brands have celebrities walk the runway, but Miu Miu – and Prada – always curate their casting with such aplomb.

The collection was guided by a coming-of-age narrative, exploring those evolving timeline portals that see us mature and adapt – carving our individuality with each new move. “Concurrent gestures express different moments in life – they coexist within single outfits, just as we each hold simultaneous memories of our own experience,” read the show notes.

And so school uniforms morphed into officewear, sleeves rolled up, and then bunched down over long black rubber gloves. Vibrant bursts of 60s colour and silhouette conjured some Summer of Love liberation and also echoed Miuccia Prada’s own youthful passages: in the 60s she felt the hippie pull; she went on to be a member of the Italian Communist Party; study a PhD in political science at the University of Milan; she even had a five-year stint being a mime student at Milan’s Piccolo Teatro. Like Miuccia’s own journey, references mixed, matched and misbehaved. Workwear silhouettes were subverted with a sense of danger, and academic references nodded towards intellectual mischief. There was a childlike sensibility in shrunken proportions and collaged looks, encouraging a sense of playfulness inherent in every Miu Miu collection that was even present through a series of subtle black dresses that ended the collection; each cut with different abstract shapes as if models had each customised their own.