Dresses are the reason Erdem has a reputation at all, going back to that first Fashion Fringe collection in 2005. The prints read as botanical rather than decorative, and the silhouettes tend to lean into volume without losing shape, which is the trick that got Harrods and Barneys to stock him early. This is the label operating in its native language.

Knitwear gives the same romantic instincts a quieter register, useful for anyone who wants the Erdem point of view without the full florals. It is where the house's tailoring discipline, honed since Moralioglu's stint at Diane von Furstenberg, shows up in restraint rather than embellishment.

The shirting carries a lot of the label's structural intelligence in miniature: precise collars, considered proportion, the kind of detailing that won Erdem the British Fashion Council's Fashion Enterprise Award back in 2007. These pieces work as the connective tissue between the louder dresses and the rest of a wardrobe.

Bags are a newer chapter for a house built on ready-to-wear, and they mostly stay out of the way of the clothes, favoring clean shapes over branding. It is a sensible expansion for a label whose identity was never really about accessories.

The remainder rounds out how far Erdem's aesthetic now stretches, two decades on from a single collection shown at London's Fashion Fringe. It is worth scanning for pieces that translate the house's romanticism into something more everyday.

Erdem has stayed remarkably legible for twenty years, which is either admirable consistency or a lack of range, depending on your patience for florals. We think it is the former: the house knows exactly what it is and keeps getting better at it rather than chasing seasons. If romantic dressing is not your register, little here will change your mind, and that is fine.