It's not often that fashion has a genuine sense of humour - but you can always rely on Jeremy Scott to push the envelope and up the entertainment ante without (usually) falling into le gag. For Autumn/Winter 2009, Scott was welcomed back onto the official Paris Fashion Week schedule, but decided to take inspiration from Americana - arguably natural enough for one of the most visible Americans in Paris. Scott's was the Americana of cheerleaders and Disneyland, his vision pumped out in the bright, Play-Doh primaries of Disneyland. Cerise, pillar-box red, apple-green and a yellow normally only found in the most synthetic of Bird's Custard provided his playschool palette, featured on his simple, unpretentious garments in a plethora of prints - Mickey Mouse ears, dice, cellphone keys, you name it. This is what we expect from Scott - slightly more unexpected, but less successful, were his brief forays into tailoring, in nubby wool cocooning coats that had a frumpish touch of the Oleg Cassini and Jackie Kennedy-Onassis about them. He was on safer ground when he turned to the eighties, an obsession with Scott since his first experimental shows back at the end of the nineties. This time around Scott paid reverent homage to Patrick Kelly, the first American designer officially recognised by the Chambre Syndicale de la Haute Couture (albeit for ready-to-wear) back in 1988. A black American from the Deep South, Kelly's shtick was all about parody and inversion of luxury, tapping into the same vein of humour as Franco Moschino then, and indeed Jeremy Scott today. Scott adopted into one of Kelly's favourite motifs - the simple workaday button as adornment. Said fastenings in multicoloured plastic polkadotted simple wool-jersey dresses, appeared as graphic earrings and crusted short, flirty cocktail frocks, a beret and a bustier constraining a black taffeta can-can frock. Elsewhere, Technicolor wired flounces animated the hems and necks of numerous brief black cocktail dresses that will no doubt have a low enough price point for the thin and winsome barely-twenty-somethings they are clearly designed for (presumably those with only an infantile memory of said decade). It was hardly groundbreaking, but Scott has built a savvy business around the fun, frivolous frolics of which this show provided a more than ample stockpile.