Gareth Pugh presented a tough, uncompromising silhouette in black, padded leather. Rigid, chevron-striped tunics, were cut in sharp-points, over ridged, bootleg trousers or over-the-knee, wedge-sole boots.

Trench-style and military coats, with trade finish, were high-collared, and tightly-belted. The mood softened, somewhat, when the leather was chevron-striped on georgette, for long and short kaftan-like tunics with triangular hems, or mixed with dark stretch wool.

Faintly softer, but no less witchy-gothic, were black and grey, long, cobweb-crochet cloaks and capes, worn over thin leather jeans.

As a gesture in the way of “party” wear, Pugh delivered a sequence of silver-chain, fringed “cages” over black leather dresses and bootleg trousers. His menswear built-in tight, black leather tunic-jackets or harnesses with floor-sweeping, pleated skirts.

I wonder what Sean P. Diddy Combs, making a front-row comeback after a few seasons “out of the fashion loop”, and here to support his new album Last Train Made to Paris, made of it.