Bowles is all about shock tactics, which is why the mint green fake mink coat Scutt gives her seems perfect. It may even kickstart a trend on the high street, along with the jewelled coloured velvets, Bauhaus prints and smokey eye makeup. Scutt says the mint green was both period and modern: “It’s a popular art-deco shade, but it needed to have a synthetic look to it that could only be modern. It’s quite 1990s.” The colour is also a nod to Goodbye to Berlin, the novel on which the show is based, in which one of Bowles’ lovers tells her she’s about as “fatale as an after-dinner mint”.

The fur had to be fake, Scutt says, to feel contemporary. She wears it with chunky lace-up boots – very 2021 – and little else, apart from some tatty silk lingerie and a graphic, fringed bob that is reminiscent of both Louise Brooks and Corinne Day’s grunge portraits of Kate Moss from the 1990s.

Scutt’s sketch books and mood boards are peppered with disparate references, from Bowie’s 1970s makeup, Maria Carey and Ingmar Bergman to Japanese Shibari rope work, Otto Dix, Alexander McQueen and the London shape-shifting designer Charles Jeffrey. No wonder the end results are so dense and at times, almost hallucinatory.

Whenever he and Buckley discussed Bowles, they “kept coming back to Sinéad O’Connor and Annie Lennox”, he says. “There’s something a bit punk about Sally. What’s great about Jessie is that she’s utterly without vanity which is an incredible freedom for a costume designer.”

Redmayne as Em-Cee also seems to have given Scutt free reign. When we first see him, he’s dressed as a perverted Nazi Youth in brown shorts and a string vest – and it gets curiouser and curiouser, culminating in a black skeleton costume with hand-stitched pearls.