While the internet is fixated on who will be the next Bond (read British Radhika Seth’s take on why R Patz is her preferred choice), I’ve been romanticising over two far more unruly spy-thriller sleuths.

Motorbikes And Chanel: Keira Knightley’s Style Revs Up

When it comes to the second series of Netflix’s sure it’s worth obsessing over how exactly the Conservative Prime Minister’s wife Helen Webb (played by Keira Knightley) can go unrecognised at a shoot up in Somerset House, wearing just a baseball cap and a mustard overcoat as a disguise, or whether sassy, signet-ring and suede jacket-clad hitman Sam Young (played by Ben Whishaw) shops only in the menswear boutiques on London’s Lambs Conduit Street. But the real reason to dedicate yourself to Joe Barton’s ludicrously unrealistic spy action-thriller is to lock and load on the style of the comic secondary characters Williams and Eleanor, two micro-banged lesbian triggermen, who pop, poison and posit on queer love while channelling modern Mod style.

Courtesy of Netflix.

Considering the array of badge-emblazoned and pocket-adorned MA1 jackets owned by the aforementioned Williams (played by Ella Lily Hyland), I’d be unsurprised if, in episode four, she hotfooted from her violent, amphetamine-addled encounter in London’s Chinatown with rogue Black Doves agent Laila Joshi (enter Ambika Mod in sheer sportswear and Nike Air Jordans), to Dover Street Market to pick up a puff-sleeved faux fur-lined bomber jacket dreamt up by Simone Rocha and Adidas Originals. It also feels likely that she of dark-mullet fame, Eleanor, (played by Gabrielle Creevy), who has an affection for checked shirting, chains and Harrington jackets, might have high praise for the Mod-inspired separates that are quintessential to John Smedley.

Courtesy of Netflix.

Courtesy of Netflix.

In the office, talk has turned to how a formal coat – tuxedo, double-breasted, pea or otherwise – feels oddly overdressed in an era of wearing nothing but jogging bottoms, loose jeans and ballet flats. Considering the amount of Stefan Cooke and Alpha Industries bomber jackets slung over chairs at The Adelphi, Williams’s and Eleanor’s approach to outerwear feels perfectly on point. And in an era of embracing personal style, a dressing approach rooted in decades, eras or muses, a deadly duo putting out (fashion) hits on the menswear-driven style of a British subculture feels remarkably fresh. Particularly when the stealth-wealth staples adored by the aforementioned First Lady of the United Kingdom – all neutral layers and luxe fabrications – feel increasingly passé.

Only five episodes into , I’m yet to discover if the queer love story between two cold-blooded killers will unfold into a warm-blooded romance between Williams and Eleanor. But bloodstains aside, I’d happily take a bullet for the wardrobes of both.