Manolo Blahnik and Christopher Bailey were there; Kate Moss and Jamie Hince, too.
Alber Elbaz hopped on the Eurostar, as did the colorist Christophe Robin. Nicola Formichetti, Diesels creative director, came to lend his support to a stablemate (Diesel and Maison Martin Margiela are both owned by the holding company Only the Brave).
How much of a difference would those years make? Had the designer moved on aesthetically from his signature history-heavy bias-cut fantasias the way he supposedly had moved on personally?
Would the consummate fashion showman pay any attention at all to the identity of a brand built on discretion and irony, or would he ignore it utterly?
