At a time in history when very few things seem to be light or easy, there's a very strong appeal in clothes that are exactly that. Things that feel effortless and pretty and don't require too much thought, because the world has given us plenty of heavy news to chew on over this week/month/year.
At Loewe, Jonathan Anderson's dresses held their own against a backdrop of works of art (the show space had literally been transformed into a gallery.) Each piece, many of them midi length and full skirted, conveyed a sense of ease and yet were packed with technical and visual impact.
From an elegant, fluid trench coat, the bottom half shredded in curled strips, to a frilled sun dress made of pieced together, contrasting swatches of gingham the clothes were the kind of thing you could throw on and not worry about much else, no needless styling tricks or over-accessorising.
The clothes were also further proof of how commercially savvy Jonathan Anderson has become during his time at the house, having evolved from a London upstart known for his experimental, avant-garde statements to a global influencer who can strike a smart balance between cool credibility, creativity and wearability.
Meanwhile at Céline, where Phoebe Philo continues to reign over what is arguably the largest cult fanbase in women's fashion, it was the tailoring that stood out. In many ways, the collection epitomised what she does best: impossibly cool and unaffected daywear spanning all your wardrobe needs.
For spring/summer '18, there was the trench coat (long, voluminous and reinvented as a cape), the perfect slouchy trousers that hang just so (one pair slightly peg legged in black leather, others in a more classic and mannish, cut in grey, camel and beige) and the directional work suit (this time done with an oversized boxy jacket and a pleated asymmetric skirt.)
And these were just a few in a multitude of wholly desirable Philo-isms on show. It was her strongest collection in recent seasons.