When the front row boasts all of HAIM, you can safely suppose a label is aiming to up its rock credentials, albeit in quite a sanitised way. And just as that act embodies a pretty and palatable version of rock and roll, so at Chloe designer Clare Waight Keller forged a newly tough girlishness in delicate chiffon and snuggly knits, folding into that a touch of (whisper it) boho.

Last season felt clean, stripped back and no-nonsense; for autumn there was more mysticism and a sense of the rustic, in runic bronze discs that adorned bell sleeves on blouses and day-dresses, as well as the hems of coats and skirts.

That was echoed in the fabrics and prints, too - on silk and chiffon, the symbols from a pack of playing cards, abstracted slightly but coloured in red on neutrals; knitwear saw ocelot print given a multi-coloured makeover.

Blanket and cocoon coats layered over creamy and taupe knitwear came in aubergine, mauve and soft lilac, a spectrum of one of fashion's most meaning-laden colours.

Whether it was authority or sensuality Waight Keller was referencing, she found both in these shades: a feminine yet restrained look that played on modernity but also felt romantic in its fluidity and softly textured, ragged and fringed finishes.

Luxe duvet coats were made from buttery caramel leather that looked thin as paper but sturdy as fur - the shades was reprised in a pair of cropped leather trousers too.

It felt like a shift towards the unfamiliar for the label, which has for so long worked in vein of purist and clear-headed, though very beautiful, smart pragmatism. The symbolism here, the bohemian spirit, and the sensual creep of colour introduced a new note to Chloe, one that worked well.