To use a word much-favoured by last night's hot ticket Giles Deacon, a 'jolly' invite sporting Ellsworth Kelly's technicolor 'Spectrum Colors Arranged by Chance VII, 1951' grid painting forecast that we were in for a seachange. As the canvas marked a departure for the artist from realism into his - most valuable- post painterly abstraction period, so Deacon broke from his exclusively older, rich-bitch audience to engage with a more fun-filled form of femininity. The Modernist, neo-couture construction and luxury materials remained, but they were ramped up with a vivid palette and 'electrified' metallic fabrics, heightened by the fantastic, fibrous, Stephen Jones hats. Despite the slightly nostalgic appeal of the 70s graphic detailing, it is still hard to imagine young girls in those Margot Ledbetter maxi dresses. Though it's doubtful with his prices that they are the target market.