At Dunhill, everything exudes class, right down to the impeccably mannered dogs that stole a few scenes on today’s runway. A silver-gray Weimaraner and two blasé borzois trotted out with poise, matching their impeccably groomed human counterparts stride for stride. Call them the ultimate high-society accessory to Simon Holloway’s aristocratic looks, unveiled in the fabulosity of the hidden garden of a Milanese palazzo.

“I was really thinking about the pinnacle classics of the English male wardrobe,” said Holloway during a preview. His focus was on a very British polarity—the elegance of aristocratic dressing on one hand, and its unexpected flip side: the sharp-tailored wardrobes of rock ‘n’ roll icons like Charlie Watts and Bryan Ferry. “They were essentially wearing what King Charles or the Duke of Windsor might have worn—just in different contexts, with entirely different attitudes,” he explained. “We’re the only country where this crazy duality of rock and royalty share a wardrobe and wear the same suit.”

The collection’s fil rouge was the elegant tension between the buttoned-up polish of Windsor men and the rakish swagger of Watts and Ferry—what Holloway dubbed “disobedient grace.” That elegant tug-of-war between propriety and rebellion was grounded by Holloway’s steadfast commitment to old-school craftsmanship—the kind of exquisite precision that remains one of his non-negotiable signatures, rooted in Dunhill’s lineage of artisanal excellence. It played out across the collection, which moved from outerwear with a sporty nod to the house’s motoring heritage, to the kind of luscious loungewear and Art Deco smoking jackets that speak of the cultivated eccentricity of the English gentleman.

A visual high point came in the form of pale linen blazers paired with Regency stripes and floral-printed waistcoats, their patterns inspired by 18th-century motifs. Dressed down with tonal Japanese denim, the look felt perfectly suited for the more stylish corners of the British summer season. In a similar spirit, bold color made its entrance through slightly more relaxed (but only just) lounge suits, and madras blazers paired with vivid, color-blocked shorts—a playful twist on tradition, with just the right amount of rebellion. Even the show’s soundtrack echoed this stylish duality: the soulful Aheym (Homeward) by Bryce Dessner was performed live by musicians from the Royal Philharmonic Orchestra—highbrow and heartfelt—but the finale struck a different chord entirely. More Than This, a Roxy Music classic, had the audience swaying, and mouthing Bryan Ferry’s every word.