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Red carpet fashion is not fashion as we know it. It does not adhere to seasonal trends, nor attempt to make arch statements. Shifts in silhouette occur at a glacial pace. Since the 1930s the dominant look has either been that of a Disney princess – skirt puffed out with tulle to emphasise a tiny waist – or something long, slinky and draped. The only true recent development has been the rise of cut-outs on dresses, putting on show sections of the body that were previously hidden by corsetry and thus necessitate new descriptors, such as the side boob and the prime rib.

Accidentism, as the word suggests, doesn’t rely much on conformity and planning. It is a philosophy embodied by bold colours, kitsch designs, a sense of optimism and playfulness. It’s exactly what the world needs right now and, thankfully, it is all over the spring catwalks.

During her time at Chloé, Waight Keller demonstrated a knack for combining the house’s signature louche, hippy aesthetic with trend-based pieces. She was responsible for a string of hits including the infamous £1,125 tracksuit that helped take the trend for luxe tracksuit bottoms to the next level – even if many of the trend’s fans bought theirs from a rather more affordable source, such as Adidas.

I’ll be honest, Paul, when I first read your email my immediate reaction was, honestly, his tie-length is the least of my worries about him. But then, being the hard-working*, Pulitzer prizewinning**, serious investigative*** journalist I am, I looked into the matter and, damned if you don’t have a point! Jesus, what the hell is up with that man’s ties?

Michelle Dockery’s Elie Saab dress was one of the night’s loveliest, like a straightened-out rainbow, with the colour palette created by Matisse. Yara Shahidi, star of Blackish, joined in the stripe party too. She wore a Naeem Khan striped dress with a kind of stylish stripe identity crisis – chevron on top, horizontal on the skirt.