The signature Matthew Williamson dreamy, floaty silhouettes were still apparent - he of course has an offering for his maxi-loving boho muse - but there were also flashes of modern brilliance.
Perhaps this show, with its firmer structures and tech-edge fabrications was about Williamson changing that.
Sheer, boxy-cut tops with strong mini-collars acted as fresh overlays atop etheral fluid maxi length dresses, and red squared-off mini dresses with chunky front panels of glass like embellishment shone brightly on the models. Metallic brocade dresses with cut away panels said Kane for the more commercial customer, while smart turtle neck jumpers sat neatly underneath dresses and tops.
And as for the prints, well of course there was a signature one, and it was used predominantly on leather and the longer line dresses.
A combination of ornate vintage flourishes, covered in bright orange zig-zag shards, the print was the perfect marriage between old and new.