Last week, Edwards took the bold step of scrubbing the brand’s Instagram account clean – a digital sage-burning to mark the end of the past – and launching a new, stripped bare aesthetic, which was saved from leaning too heavily into Yeezy (the brand founded by the rapper Kanye West, or Ye) or Kim Kardashian references with an injection of the palest of pinks, blues and yellows in gear best described as “ath-pleasure”. And yes, there was a soccer jersey in the mix for good measure.

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Stylist Karla Clarke created the illusion of bubble hems, pin tucks and folds simply using clever layering and ways of tying garments around the body it seems all the cool kids seem to know how to achieve. (For the rest of us, there’s always a YouTube tutorial.)

Backstage after the show, Edwards was visibly emotional after pulling off the resurrection of the week. “You make such a stance to evolve, we wiped the Instagram ... and then you’re like, ‘Is this going to be different enough?’ It’s that risk, but with that risk comes great magic,” she told this masthead.

Magic was also in the air at the runway debut for six-year-old Melbourne brand Mastani, which filled the runway space at Carriageworks with incense, evoking the New York Met’s new exhibition, Sleeping Beauties, which includes an exploration of how consumers can relate to fashion through the scent of old clothes.

Designer Kudrat Makkar created a marbled print in green and gold – yet another parochial sporting motif, though coincidental – but it was her lean into heavier metallics and embellishments that marked a maturation for the brand, many of whose most loyal customers had made the trip north in support.

In Mastani’s world, gunmetal can be as good as gold.

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