Yes, it was Her Majesty the Queen’s own shapely cream sweater displayed in a showcase at the Serpentine Gallery.
A discreet whisper had it that the knitwear, first given to The Queen in the 1950s, had once been part of a sweater set.
The cardigan had disappeared — perhaps chewed by a corgi or left back at Buckingham Palace because it is still in use.
The 200-year celebration of Pringle of Scotland — an exhibition that will go to Edinburgh in April and then on to Asia — was full of fascinating information. It explained how knitwear had helped with the emancipation of women, as the summer sporty clothes they were entitled to wear on the golf course or tennis court eventually made their way into their wardrobes.
Images of noble Scots, displayed beneath emotional photographs of the rugged Isle of Skye, were the contribution to the exhibition by photographer Albert Watson.
Stella Tennant, Scotland’s best-known model, gave her personality to the casual way she wore the knits.
After all the exhibition’s revelations about Pringle then and now, the runway show itself was quiet and polite: wearable woollens seen through the vision of Italian designer Massimo Nicosia.
Giving knits a touch of urban glamour and using 3-D printing, the models walked out in cashmere skirts with diamond patterns, wearing high-heeled ankle boots.
Lacy sweaters, white cable-knits and sparkly dresses suggested the Pringle woman was more likely to be a city slicker than a country bumpkin.
Yet, somehow, I missed The Queen and her corgis and the kind of self-mockery from the British upper classes that you might find in Tatler. Pringle is also Scottish and proud of it. And its two-century celebration deserved a bit more Northern grit and wit.