Last night S.S. Daley created his very own period drama. A continuation of his study into the infrastructure of British aristocracy and the class divide, this collection saw the Liverpudlian designer refashion the upstairs-downstairs dynamic of a stately home. A table adorned with flowers, a four-poster bed scattered with red roses and a country-garden picnic set-up acted as the perfect centrepieces for the romantic theatrics of Daley’s cast of dancers to parade this season’s pieces.

Playing with the trappings of privilege and what they mean for each individual, Daley said, “I started writing my own narrative. For each look, I gave it a character.” Everything was emphasised to expose their secret desires; the first look saw diamond cuts of surplus leather fashioned into a waistcoat worn only with a slash of a brief and chunky knits were slit loosely at the neck – think sexy Downton Abbey. There was, of course, a new take on the floral high-rise tailored pants that shot Daley into the frame after Harry Styles wore them on the cover of his single Golden in the Amalfi Coast. But, this time he took it all one step further with chocolate brown checked suits, exaggerated balloon sleeve trenches and oversized tuxedo shirts all chicly reminiscent of stately home servants in the 1910s. 

Daley’s journey into womenswear proved just as romantic as his menswear, suits elegantly cut with a strong shoulder in red wine corduroy and a baker boy hat to match stood alongside striped shirts etched with 17th-century drawings of poppies. The romance of Daley’s brand remains and closing to the melodic notes of Kate Bush’s Cloudbusting, the truth of his collection lies in her lyrics, “I just know that something good is going to happen.”