Within the studio, the labyrinthine gallery coaxed attendees to explore what lay in store around every corner. Gabriele Skucas’ designs, suspended over a ghoulish backdrop made for a spectral and spectacular welcome for the guests, while many gathered around the vivid splayed pleats of Chopova Lowena’s skirts, installed as if worn by one on their knees, praying. Coos erupted from the onlookers as they turned to spot Stefan Cooke’s designs, expertly modelled by a selection of whippersnappers. It’s an unlikely context in which to find well-garbed children, but perfectly colludes with Stefan’s design ethos; “I wanted it to be familiar yet totally unfamiliar.” Beautifully juxtaposed against his youth-quake were stark, intimate images of Eftychia Karamolegkou’s sharp tailoring; “It’s the attempt to define a different type of femininity, sensuality and beauty,” she confided. As the gallery opened out into a vista, it was as if dappled monoliths were lining the sands of a chilly winter beach; but on closer inspection, they revealed themselves as sculptures executed by Laura Newton. Inspired by tradition Scottish hap making, her knits were stretched across wooden frames, demonstrating her creative process while supplementing the cliff-top photo shoot of her knits. Richard Quinn’s flower prints exploded from an otherwise understated corner, filling the monochrome setting with vivid colour. Charlotte Knowles’ riff on lingerie reclined in glass cases; one part autopsy exposing its construction to the curious crowd, one part Snow White, waiting for the right person to liberate them for a proper night out. “We really wanted to take ‘our woman’ outside,” Charlotte agrees.