Last night the fashion house Moschino, headed up by the ever extravagant designer Jeremy Scott, showcased its Resort 2020 fashion collection at Universal Studios in Los Angeles. Housed in Hollywood, this was not at the theme park mind, but the actual where-films-are-made backlot of an entire street (with front lawns and trees) here used for the first time as a runway.

Scott referenced the many old horror films made by the studio, including King Kong and The Mummy, and the collection opened with model Suki Waterhouse, (almost unrecognizable in short blond bob a la Drew Barrymore in the 1996 film Scream) running down the street, screaming and banging on doors to the music from the film Halloween.

Next came models who emerged from the twilight covered in spiders webs, Frankenstein stitches, and creepy masks as Scott worked his way through the lexicon of fright. However, being Scott, this was as witty as it was outrageous, with menswear travelling through Dracula T-shirts, rain coats with claws bursting out of the chest, and smoking jackets worn with enormous clawed hands, to an elegant Gothic double breasted coat embellished with a jeweled stabbed heart, that dripped sequined blood.

The women swept past in patchwork mini dresses masked with crude hessian sacks (very Children of the Corn), more Dracula faces on dresses and vampish jet black lips.

Elvira-esque witches hats had fringing veils that fell to the floor, as tights were worn ripped, and shoes were largely platformed, like something from The Munsters. Devilish red dresses (accessorised with horns and pitchforks) followed a 1930s era bias cut dress, now adorned with gaping mouths. There were even identical twins in matching outfits of sketched faces, looking creepily unsettling.

Both genders meanwhile wore clever trompe l’oeil mummy bandage outfits, a reference that appeared again as a deshabille gown of unravelling bandages worn under a biker jacket embroidered with cobwebs.

Other pieces were covered with skeletal rib cages, while a 1950s Marilyn Monroe flared dress came with a stole made from King King’s hand, fingers tightly grasped around her torso.

Amid the humour there was some serious beauty of course. An exquisite smoke grey satin hooded cape, all ruched and drama laden (worn with skeleton print opera gloves) while a pin stripe suit turned out to be covered in rows of tiny bones. A beautiful jacquard coat, with the word goddess etched into the fabric, crawled with inky tarantula’s, while the bride was magnificent as one of the undead.

Seemingly raised from the grave in a slashed and decayed gown (billowing hauntingly as she moved) her look was finished with bone print tights and a spider corsage, making her the perfec