As thrilling as it can be to witness young designers scraping together shows on a shoestring at London Fashion Week, the precariousness is often palpable. You admire the resourcefulness, but you can also feel how much is riding on it. Which perhaps explains the particular pleasure of arriving at Erdem on day three. There is relief in knowing you’re in safe hands: the clothes will look good, the models won’t stumble, and you can, for a while, unclench.

That was certainly the case at the Roundhouse, where Erdem Moralıoğlu’s spring/summer 2027 presentation paid homage to Barbette, the trapeze artist and female impersonator who dazzled audiences in the 1920s and ’30s. ’s chief critic Sarah Mower described it as “possibly the best [collection] yet in Moralıoğlu’s career”. Among the highlights were a suite of silk dresses and suiting with ostrich-feather furbelows inspired by Barbette’s costumes for performances at the Moulin Rouge and the Casino de Paris – the appeal of which has since been borne out by the succession of celebrities desperate to be photographed in them.

Sienna Miller – for all her protestations about losing her style compass post-pregnancy – was first out of the gate, wearing a black satin minidress with a befeathered pannier to the premiere of just two days after its runway debut. Troye Sivan followed at the VMAs in a satin-and-tulle draped black tuxedo jacket with similar plumage bursting forth at the hips. And then there was Rosalía, who yesterday afternoon wore the blush dress iteration for an occasion no more momentous than a stroll around Manhattan. Consider it this season’s answer to Miu Miu’s spring/summer 2022 skirt set, Simone Rocha’s rose-stuffed spring/summer 2024 dress or Conner Ives’s autumn/winter 2025 housecoat: the look of now.