“When I walk into a room, I don’t want my clothes to scream, but at the same time, I don’t want to wear anything that comprises who I am.” Stella McCartney was describing the ‘delicate’ balancing act of designing as a woman, for women. It’s a subject which is rightly coming under renewed scrutiny, mainly because so many women creative directors have been replaced by men lately.

The fact that McCartney has been designing for her peer group basically since she was made creative director at Chloé in 1997—when she was 26—gives her no little authority on these matters. (Plus the trust she’s built with like-minded customers through her pioneering of transparency and accountability in fashion production, and campaigning for animal rights, of course.) “Well,” she shrugged, with a small laugh, “I been doing this a while.

” McCartney’s staying-power is surely attributable to remaining true to her identity and all its facets—traces of which are imprinted as much on her pre-collections as her runways. “There’s a relationship with the show, but it’s done with as much work and love.” There’s her tailoring—big-shouldered pantsuits, and coats this time—her sensuously-wrapped dresses, her love of nature, and then, of course, “Horses! Because I can’t help myself.

” The horsey American McCartney shows up in a shadowy green print of a stampede “running across a dustbowl - across your dress or pajamas.” Also in the faux-leather chaps implant.