The Empire strikes back. This often lovely collection took as its starting point some photographs of a group of Savile Row-inspired African fops, Third-World men-about-Brazzaville who favour bright suits, brogues, bowlers and ties (tie-clips too). Smith’s first few ensembles were inspired by this multicoloured reworking of our tailoring tradition. High-cut pink city shorts were teamed with shirt-and-tie effect knitwear and a black linen jacket. There were one or two full-on suits, accessorised with the full rigmarole (this was a good show for mannish, flat shoe lovers).

It was a suit jacket worn inside out to reveal an eye-watering, dotty print that proved this collection's fulcrum. After this, Smith’s balance shifted: he stopped homaging an African remix of British sartorial culture, embarking on his own homage to African style. Beautiful beads and strappy sandals set off a dress layered in orange, green and the Dutch (style) print. Tastefully done leopard-print (I know, astonishing), shorts set with a big shouldered, one-long, one-short sleeve jacket in those dots. Hints of Britain crept in; teacherish elbow patches and prim cardies wrapped around the hips. Tightly wrapped, then billowing dresses and cool spring trouser suits took this post-post-colonial collection to a perfectly- fitted climax. LL

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