The show opened with heels clicking down a street, cars honking and people laughing somewhere behind them. I loved that. It set the scene before a single look appeared, and it made the whole thing feel like a city you could actually walk through.

Julian Klausner has handled what might be the smoothest designer handover of the last couple of years, and this is his best collection so far. His idea was vintage movie posters, with invented pulpy titles, Lacquer and Lace among them. He wanted that feeling of sometimes wanting to feel glamorous and sometimes wanting to feel like a star.

The layering is where I fell for it, and jackets are the place to start. About two in five looks wear one.

The posters were printed on breezy viscose trenches and unstructured slip dresses, but I kept noticing the skirts. Paperbag waists, and slimmer ones stenciled with cocktail glasses and winged eyeliner eyes in a retro way. To my eye it is a clever contribution to the great skirt resurgence of this season.

I like how they are styled, too. A stenciled skirt with an embroidered blazer, a button-down and a double strand of beads is the kind of outfit I would put together on a good day.

Belts and brooches gently nip the waist on sack dresses and oversized striped polos alike, and about a quarter of the looks use a belt. It gives everything a soigné drape without ever feeling stiff.

More than half the looks carry a bag, and they are large but softly constructed, held in the crook of the arm. I think that is the right call. It looks like someone who has places to be, and it makes the glamour believable.

Klausner described it as believable for walking around the city, and I agree. The shoes follow the same logic: classic pumps on solid heels, and loafers on smaller ones for a star's off days.

Then there are the small, funny details. A handful of looks wear sunglasses, and another handful have a jacket carried over the arm. Those little touches are what make her feel like a real person and not a poster.

What I took away is the shy laugh. The posters carry credits, and in the top right corner you can just make out the designer's own name. When it was pointed out to him, Klausner admitted it was pretty weird, since he is so used to seeing Dries's name everywhere.

I love that he finds it fun that somebody will walk around with his name on a dress. It feels honest, and it shows a designer who is utterly at home in the director's seat.

His star has her quirks, like a solo glove and a shrunken tee under a ditzy floral dress. I would wear every one of them, and I would wear them in the city.