Franco Moschino launched Cheap And Chic in 1988, six years before he died in 1994. And it was this period of time that seemed to swirl around the current collection: the halcyon days of British and Italian club culture.

There was a sense of the late sixties and early seventies refracted through the glass of the late eighties and early nineties in the current collection. Both the original decades were made Shinier! Happier! More colorful! With added Ecstasy! In the late eighties and nineties, of course. And all four decades were made just that little bit more so by Moschino's creative director, Rossella Jardini, and Cheap And Chic's designer, Francesca Rubino, today. Not that for an instant this reviewer is suggesting the duo are liberally applying drugs—just that there was a little bit more of Moschino's stock-in-trade hyperreality than usual.

And there is a certain feeling afoot this season in London that makes the Italian label chime readily with a British sensibility. In fact, Moschino Cheap And Chic's move to London last fashion week does seem to have given the brand an added impetus and polish. Perhaps it is the enthusiasm of the audience—the show today was packed with the trendier side of what would once have been known as British "light entertainment": Alexa Chung, Daisy Lowe, and Nicola Roberts (she's turned out to be the best one from Girls Aloud), et al.

The roots of Moschino style were in Franco Moschino's wry take on high fashion, and perhaps what we have in this collection, whether intentional or not, is an almost cartoon mutation of Prada's Fall show, a sort of "cheer up, love" version of it in places, that is not derivative but really Moschino's own. Like Franco Moschino's appropriation of the peace sign, which made an appearance writ large and multicolored on a maxi dress here, the beauty of Moschino is that anything is up for grabs. So, from African batik prints to sateen sportswear and orange pantsuits to pineapple shoulder bags, it all sits side by side and makes its own Moschino sense.