At Margiela, clothes are draped and layered in concept, crafted into objets and revered as relics. It was figuratively just so today too, at the autumn 2014 show, where avant-garde and Orientalist cuts blended with heritage and antiquity.

Herringbone Harris Tweed coats were deconstructed and served up, literally, in an exploded view – their panels turned inside out so the label of authenticity showed, and apparently 'floating' around the body.

These were shrouded in sheer and delicate vellum lace, wrapped and tied as a sporty shell top. Mixed in were cuts of poplin striped lining fabric, playing with that inside-out feeling, and referencing one of the house's favourite tricks: making something precious out of off-cuts.

There was plaid and Prince of Wales check too, cut as masculine suiting that had been carefully taken apart into waist-belted bustiers and gilets, turned into shirtdresses worn over cropped trousers of the same fabric, some slit into Boro-style overcoats and others worn with rustic cotton aprons. Jersey was ruched and tiered as column dresses and skirts, part of the dark palette of earthy browns and dark reds.

But although the feel was nostalgic, almost Land Girl in aesthetic, the treatment of that reference was ruthlessly modern. Even the most romantic-feeling white felt blanket coat had the Margiela flat-cut sleeve and jutting shoulder; the trad tweeds were worn with golden booties.

The result was nothing was quite as it seemed, although all was beautiful; spectre-like and deferential but at the same time witty and subversive. Which is exactly the concept that Maison Martin Margiela draws over every collection, just like so much antique lace.