The Caroline Charles invitation stated that for Autumn/Winter 2010 there would be four ’sets’, and that’s exactly what we got.

A rockabilly soundtrack ushered in the ‘metropolis urban’ set, which featured lots of brown tweed for day; grown-up skirt suits and waists cinched in with skinny pea green belts and smiling models (yes, Caroline Charles models always smile) and were topped with black patent fisherman’s hats, aviator caps or funereal black fascinators. Combined, the pieces looked like they could have come straight out of the trunk of an upper class American lady on a ski trip in Aspen in the 1950s. More vintage touches arrived by way of black long satin gloves with diamante jewelry worn over them and big Jackie O sunglasses.

Then the rockabilly tunes faded away to reveal a looser silhouette for the ‘rural hobo’ set. Wide skirts cut to the calf  with jackets in manifold shades of brow. The hat of choice this time was the Trilby, and a playlist of country and western ballads.

The ‘boho cocktail’ set took a turn for the twenties and then headed east. Oodles of delicate beading in jewel-coloured mosaic patterns on velvet and silk tunics, some with kimono belts, gave the whole thing an oriental flavour.

Set four saw even more glitz in ‘babylon and beyond’ – a heavily beaded tea dress in purple with gilt edging was particularly stunning and the gold sequined cropped jackets paired with black latex tights or capri pants were positively cutting edge compared to all the historical looks that preceded them.

And finally, the icing on the four-cornered cake was a black-clad bride with her two bridesmaid’s in gold frocks. It’s always fun when there’s a big finale look, so the model bride looked understandably upset when she lost her veil halfway down the catwalk. She recovered admirably, though, and Caroline Charles took a bow on a diverse but well-executed collection.

– Katie Wright