The show opened with classical melodies interrupted by an electronic beat — which told you immediately what Sara Cavazza Facchini was after. It closed to Prince’s “The Most Beautiful Girl in the World.” In between, she traced a line from late eighteenth-century Neoclassicism to the present day, and made it feel entirely natural.

The starting point was the Victoria and Albert Museum’s Marie Antoinette Style exhibition in London — but Facchini was clear that she didn’t want the historical reference to sit at a distance from real life. “I like to imagine women leaving the court to experience their most special engagements in the dynamism of a metropolis,” she said. The collection lived in that imagined transit — the energy of history translated into the rhythm of a contemporary city.

The echo of the eighteenth century surfaced not as costume but as architectural instinct. Decorative flourishes were reimagined as structural elements. Volumes were kept airy. Peplos-inspired silhouettes moved and constructed themselves like the petals of an upturned flower. Ruffles and flounces unfurled to shape dresses and jumpsuits rather than simply ornament them. Those historical codes were then pulled through reduction — stripped back enough to align with the effortless, unselfconscious attitude of women who live and move in the world rather than posing in it.

The result was a collection that wore its references lightly. The Neoclassical DNA was present and recognisable, but it never overwhelmed the clothes or the woman wearing them. Facchini seems most interested in the point at which grandeur becomes ease — where something that began in a royal court ends up feeling perfectly at home on a city street.