Inside the brand’s Milan headquarters on Viale Umbria, Paul Smith invited guests into an intimate salon-style setting. The usual whitewashed walls were punctuated by the work of artist Colin Barnes, who captured some of the earliest Paul Smith designs in 1976. Prior to the show, Smith shared a snapshot of images from his moodboard, a selection of references sourced inside the brand’s Nottingham-based archive from over 55 years in fashion.

A known lover of collecting trinkets and treasures, this season saw the British designer’s penchant for magpie dressing stand at the fore, reimagining some of his most recognisable silhouettes for the contemporary man. On the surface, the collection orbited a subdued colour palette of autumnal shades, but upon closer inspection, the browns, greys and navys were punctuated by the interruption of polka dots; works from Paul’s father’s photography archive, screenprinted on shirting or embroidered with floral designs.

French poet and playwright Jean Cocteau served as Smith’s FW26 muse. As one of the most avant-garde figures of the 20th century, Cocteau was a pioneer of the Surrealist and Dadaist movements and one of the most sartorially sound artists of his time. Seldom seen in anything other than a shirt, tie and suit, the artist and British designer have that in common. Taking notes from Cocteau, the collection featured layered cuffs, neckerchiefs peeking out from beneath shirting, and garments crafted from sheer fabrics, working in contrast to the Harris Tweed and Donegal fabrics used elsewhere. Completing the look, most models sported supple leather or suede bags in hand or under arm, adorned with swinging bag charms or nonchalantly placed gloves.