Purity was the name of the game at Thomas Tait, with clean shades of ivory white and warm grey, the basic palette for the collection, with pops of chartreuse and salmon pink. The exceptional casting for the show featuring models with supple dewy skin and austere pulled back hair, gave an air of Nordic minimalism to the show. A closer look revealed clever sportswear details like parachute fabrics worked into evening wear to give draped gowns an unexpected sense of utility. From the snowy white carpet upon which the models glided, to the white interiors of a stately room near Grosvenor Place, the Thomas Tait show felt like a tabula rasa on the last day of London Fashion Week.

The consistent 'all-white' colour scheme and the minimal shapes also brought to mind the works of 'Love Aesthetics' by Ivania Carpio, a fashion creative from the Netherlands. The show saw tracksuit hoodies modified with oversized cuffs, styled as over-the-dress outerwear. The raincoat drapes that created a sense of plasticity resulted in rustling of fabrics as the models moved, seen perfectly executed in the salmon pink evening gown with barely there straps. Design choices made seem to suggest that Thomas was going for the essential; no overt embellishments needed. Yet the models exuded a quiet femininity that felt simply luxurious. The melding of evening and sportswear was seamless.

A show stopper etched into memory was the grey evening number with a structured oversized coat and propped up collar in concrete grey, with a floor-length train that opens up quite literally like a parachute drifting in suspension. The show left a lingering sense of understated elegance and razor sharp precision.

- Nabil Aliffi