This sense of pragmatism served with plenty of froth on top is becoming a hallmark of the way that she sees Chloe; there’s no lack of lacy, whispy, delicate dressing, but she also knows it needs to be strong and gutsy and infused with a sense of the street. Her answer, then, to the sheer dilemma: a georgette woven in Japan which is airy and light—Waight Keller’s twin buzzwords this season—which she colored sand, khaki and (later) white, then pleated it into the likes of scarf-hem dresses and slim trousers with ankle ties, which undulated in a rather lovely manner as they came down the runway. She also tapped into the longer-line top worn with something gauzy below that has also emerged in the past couple of days as another way to think sheer without going crazy. From there, Waight Keller moved into vivid and clear blues—Tuareg, she called it, referring to the chosen hue worn by the tribespeople in Mali—patchworked into the likes of a rather gorgeous billowing blouse and floaty skirt. And for evening, she found another way to say light and soft; the likes of a shell pink jumpsuit or a black slashed hem dress dotted with gilded flecks, had gold chains worked into the seams that were as malleable and moveable as any necklace.