Was this the turning point in men’s fashion?

It’s open slather on the red carpet as the winds of change blow for understated menswear

Left, Jason Sudeikis; centre, Billy Porter; and right, Cedric the Entertainer. Picture: Getty Images

It is possible we’ll look back in years to come and say this was the moment that finally turned menswear on its head.

If the gentlemen’s garb on show at last week’s Met Gala was subdued in extremis, then the Emmys certainly made up for it and reminded us why menswear is in fact one of the most rapidly changing segments of the fashion market.

Certainly we’ve come to expect flamboyance from Pose star Billy Porter on the red carpet, and he didn’t disappoint, in wide-legged trousers and slimline top that exploded into pleated “wings”.

But he was all but upstaged by Hacks star Carl Clemons-Hopkins in a piratic-tux ensemble that included an off-shoulder white shirt with wide black trousers and a cummerbund with floor-sweeping sashes in purple and yellow.

Seth Rogen. Picture: Getty Images

While flamboyance is not for every man, many did choose suits in a colour wheel of hues, from Jason Sudeikis’s duck-egg blue velvet suit to Kenan Thompson’s in pink. Seth Rogen chose an odd tonal approach, with beige shirt and bow-tie, orange jacket and latte-hued trousers.

The ever-delightful Dan Levy went all-in for blue in a dressing-gown inspired jacket with matching shirt and trousers by Valentino.

Best dressed men at the Emmys

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Prints were also on point, with Jon Batiste’s photo-print suit, and Anthony Anderson in a two-tone floral printed blazer.

Leon Bridges brought some mariachi magic to his embellished suit, while Leslie Odom Jr embraced embellishment from neck to toes.

Bold and unusual colours and colour-blocking were a clear trend of the evening, as both men and women largely shied away from black and white.

Certainly there was no fading into the background for Michaela Coel at Monday’s Emmy Awards.

Michaela Coel. Picture: Getty Images

Beanie Feldstein. Picture: Getty Images

Resplendent in a neon yellow ensemble, Coel took to the stage on winning the award for best writing for a limited series and noted that “visibility these days seems to somehow equate to success”, adding: “Do not be afraid to disappear.” While Coel may not have been talking about fashion, the British auteur’s high-fashion take on hi-vis, by US designer Christopher John Rogers, will have her etched into the memory bank as one of the great successes of this year’s event.

Coel’s compatriots in yellow were another two of the past year’s biggest breakout stars.

The Queen’s Gambit star Anya Taylor-Joy may have missed out on the prize for best actress in her category, but her Dior gown won her plenty of kudos.

Golden girl: Anya Taylor-Joy in Dior. Picture: Rich Fury/Getty Images

The cream sheath was offset with a daffodil puffed peplum and train that offered a contemporary approach to Old Hollywood glamour.

One of the most divisive looks of the night came courtesy of Emma Corrin of The Crown.

Her buttermilk Miu Miu ensemble hit a strange note somewhere between Handmaid’s Tale swim costume and angry Pikachu.

Emma Corrin. Picture: Getty Images

Olivia Colman. Picture: Getty Images

The strapless trapeze gown was accessorised with a bonnet that resembled a vintage swimming cap and long fingerless gloves that revealed shining black talons.

From America Ferrera’s deep purple dress to Annie Murphy’s relaxed teal Valentino, Moses Ingram’s olive gown and Kaley Cuoco in neon lime, the range of colours on offer will have the Pantone people rethinking contenders for colour of the year next year.

The colour-blocking category included Ashley Nicole Black in two-tone raspberry and mandarin, Cedric the Entertainer in a blue suit with diagonal detail in different shades, and Olivia Colman in an apricot and navy cape dress by colour queen Roksanda.