But it is not as simple as that, especially when the “show” in this Covid-19 era, is now a series of static images for Givenchy, or, in the case of “Giamba”, moving images of models walking through summer landscapes as light as their dresses.

The original Hubert de Givenchy was defined by elegance or “politesse” (politeness), which is hardly a key subject for 2020.

But no follow-up designer, from Alexander McQueen (on the wild side) to outgoing Clare Waight Keller's attempt at modern grandeur, has stamped on Givenchy today a fashion statement for the future.

Like the 2018 royal wedding of Meghan Markle and Prince Harry with its old school grandeur, the royal couple’s shift to casual LA style makes the Givenchy dress worn by the bride now seem to belong to another era.

Williams, 34, is Californian. And his look is based on cool - that hard-to-analyse style - already developed on his previous fashion relationship with Kanye West, and to the designer’s own American based Alyx label.

“It’s about finding the humanity in luxury,” said the designer, defining the essence of his work as discovering "the pieces of the puzzle for a collection, building it from symbols and skins - but never forgetting the reality of the person who will wear it and bring it to life.”

He continued: “Women and men should be powerful and effortless, equal and joyful, a reflection of who they really are - only more so.”

Since the new designer’s “show” consisted of still photographs of streamlined outfits - for males as much as for females - it is hard to make a judgement. The cool-aid was sprinkled everywhere, not least on shoes. But there was also plain tailoring, such as a man’s coat in the pale pink of a rising sun or another sharply cut white jacket with sugar pink patterned trousers.

According to the designer, “hardware” is key, applied to both sexes as “a symbolic nexus of utility and luxury". That included a horn heel, referring back to McQueen at Givenchy, and the “Lover’s Lock” inspired by the plethora of keys at the Paris “Le Pont des Arts”, which had weighed down the bridge.

There were plenty of pieces of real cool - as in a jacket and trousers in a scrunch of plastic-looking black. But there were even real examples of elegance in a dress cut away to reveal a bareback, or a tailored white top over a “feminine” flower embroidered on a dress that was almost transparent.

Throughout, the collection seemed more like pieces from a closet, available to put together by choice - and the knowledge that some will have a cult following. That is the essence of this designer and his connection to the Kardashians and other game-setting celebrities. He also has a Californian sensibility - a carefree casualness.

“Elegant playfulness and pragmatism” were the aims of the designer. Sounds good for when he can offer his Givenchy work as a live show.

Giambattista Valli

I missed the voice of Giambattista, telling me, season after season, the story behind his collection, which would be a free-spirited woman from the past, bringing to life her history - and, of course, her wardrobe.

So how to start? With the wind rustling gently in Positano, creating movement not just of the landscape but also the clothes: a light blouse printed with fat roses, while its short skirt was decorated with smaller flora. It didn’t have to be patterns - just as likely were woven flowers along with sea urchins, or long black skirts transparent enough to show the covered legs.

Sensuality is never far from Giamba’s vision - but the summer breeze blew in a youthful innocence. There was not even a hint of vulgarity in high hemlines or other visions of skin at midriff and thigh line.

It was a breath of fresh air in this alarming era when we are being asked to stay in to stay safe. Here was freedom - if only in our wardrobes and our dreams.