That woman with the raffia straw bra over a white dress with its hemline dipped in blue ink — is she crazy?
But here she is again, looking sleek and absolutely normal in her pale plaid pant suit, its waist cut away to let a belt slip through. So there it is: the dichotomy of modern women's lives at Céline.
Even if the models had been stark naked in the rush to get up, make breakfast, stuff their tablet into a bag, drop the kids off at school and make it to work on time - designer Phoebe Philo would still have got her message across.
It cried out from the planning of the set, where the models walked purposefully in different directions, as if following a map of organised chaos.
The only thing that stayed constant as the figures criss-crossed the space were the shoes and the bags, always perfectly selected even if a neat, square hard bag and soft white sandals were teamed with a white dress that looked as though a maverick artist had painted ink splodges on a woman's intimate areas from breasts to thighs.
Phoebe's innate understanding of a modern women's multiple roles could probably be summed up by the fact that she had two daughters discreetly placed beside a pillar on the set, tidy in blue jeans with highly decorated shoes. Who knows if they give their mother fashion advice — or inspire her just by being there?
This Céline collection was notable for its harmony of the essential and the whimsical: the first embodied by a smart jacket, the other by what looked like a fraying white table napkin absent-mindedly left tucked into the bodice.
Was this Céline collection an ode to women's crazy busy lives? If so, Phoebe Philo turned it into an art form with a display of quiet and bright colours in perfect harmony.
It seems that the chaos theory of fashion can become a thing of beauty — if left in the right artistic hands.