His offering appeared coherent and each look successfully evolved from one to the next smoothly and with consideration.
Deriving inspiration from a number of discordant sources: the nomadic Namibian woman, Russian military officers and the earth's surface, it wouldn't necessarily be surprising if Emilio de la Morena's Autumn/Winter 2010 collection seemed somewhat confused.
Luckily, for him and us, his references were not as explicit as they were laid out in his press release, and so his offering appeared coherent and each look successfully evolved from one to the next smoothly and with consideration.
Mini skirts were formed from layers of fabric sculpted and moulded into folds and ruffles, each strata peeling away to reveal a glimpse of the one underneath. Gently folded material at either side of the torso gave the impression of a pair of curtains (don't worry - not your granny's net ones) pulled apart to reveal the dress behind them.
Block taupes and teals gave way to multicoloured patterns, which although painstakingly hand painted, still managed to evoke that bitter-tasting "seen it all before" sentiment. Unfortunately, Morena chose to accentuate the waist and derriere with his signature draping - rather than hide any sins, swathes of heavy crepe de chine only served to emphasise them.
Endeavouring to design the perfect parka, Morena tried out cropped, billowing and cocoon shapes with varying levels of success. The large and loud turquoise number was one that he could perhaps have done without. Similarly, the appliqued flock design that covered his finale dresses - ethereal organza numbers - wouldn't have been sorely missed.