Amidst swirling rumours of her potential exit from the brand, Chemena Kamali pulled off, in my opinion, one of the SS27 season’s most memorable shows. And not for its fanfare, a pompous set or a stacked FROW. For the clothes themselves. Meticulous, elegant and perfectly Chemena.

I’ve never been particularly fussed about the idea of marriage, but I think I might entertain the idea just to wear a full suite of looks from this collection. The opening looks – tasselled, laced white two-pieces – were so intricate and romantic. There was something very Chloé in the accumulation of detail: lace, loose threads, movement, a little sensuality. That particular combination of prettiness and insouciance has been part of the house since the days of Gaby Aghion, and Kamali knows exactly how much to disturb it.

Look seven was already doing the rounds online as soon as the show closed: a metallic bralette made from chained-together silver and gold roses, paired with a simple, tailored white trouser. The contrast was brilliant. The floral jewellery had something almost antique about it, while the trouser was clean and spare. Ornament against ease – another very Chloé tension.

From there, the collection became more diaphanous. Tufted gowns in sheer blacks and whites enveloped the models, worked with lace and frills, while floral appliqués covered gowns both short and long. These are familiar house codes, but Kamali has a light hand with them. Nothing felt overly precious. The femininity remained loose, tactile and a little undone.

Then a sailor-capped look opened the flood gates – quite literally – for a procession of trenches and raincoats, complete with asymmetrical matching rain hats that draped across shoulders and left just half a face peeking out from behind an upturned brim, or behind oversized sunglasses.

I particularly loved some of the sheerer raincoat materials, ranging from completely translucent to semi-opaque in pinks, whites and storm-water greys. They looked like protection imagined through Chloé’s eyes: flirtatious but with an air of the functional.

But then the storm was over. We returned to a summer’s day, and the collection opened back up into something lighter. Broderie Anglaise was at its core. Two-piece sets with skirts and tops brought the collection home, alongside a few 60s/70s-inspired, skin-tight ribbed-knit jumpsuits in citrine hues, punctuated with floral appliqués. That 1970s ease has always suited Chloé – the body, the movement, the sense that clothes should be beautiful without appearing too laboured.

A particularly great Rattan Paddington didn't go unnoticed by me either. Chloé’s famous padlocked icon has become one of fashion’s most coveted bags of late. I'm sure this iteration is sure to be another knockout.

Kamali said the show was all about her Chloé obsessions – lingerie dressing, cape-like outerwear, scoopneck tailoring and Broderie Anglaise. You could feel those obsessions throughout, but so too the history of the house: its romance, its ease, its slightly bohemian femininity.

“May the love that poured into this collection endure forever," she said. "This season, I was guided by my love for Chloé. This collection, I hope, is an expression of the Maison’s heart, and soul."

"Forever Chloé."