Such a cosmopolitan, subversively sexual character gets the look to match. For A Bigger Splash, Guadagnino collaborated with costume designer Ms Giulia Piersanti, who also worked with the director on Call Me By Your Name.

“In all my work, the costumes are extremely carefully considered,” said Guadagnino in The New York Times. “A man like that would have very precise taste… [He] would always pay attention to style whether at a coca party or at a recording,” he told WWD.

Whereas Marianne’s reformed rockstar wardrobe consists of smart shirt dresses designed by Mr Raf Simons, Harry’s look is of a music business hedonist who still considers himself in his prime. Balding, but thickly bearded, he wears a uniform of slip-on loafers, loose trousers by the Milanese tailor M.Bardelli and custom-made Charvet shirts buttoned down a little too low. “Because if you want to tell the story of that guy,” Guadagnino told Vogue, “He only wears, for sure, Charvet shirts.”

For his dance sequence, Harry deviates from the Charvet, but the same outlandish spirit remains. Having initiated swimming races with Paul and convinced everyone to eat salt-baked fish, he plays the song “Emotional Rescue” by The Rolling Stones (who he used to work with) on the record player. Barefoot, Harry wears a white, green and grey geometric-print shirt by Lemaire, completely unbuttoned, with a pair of trunks whose green and pink pattern is a little like a peacock feather.

Carefree and summery on the one hand, the clash of motifs, stylised with a bare chest, feels fitting for Harry as he struts around with moves like Sir Mick Jagger, showing off his good-for-50 torso in an attempt to win Marianne back. “Is there nothing I can say, nothing I can do/To change your mind? I’m so in love with you,” go the lyrics.

The plot of A Bigger Splash is loosely based on Mr Jacques Deray’s 1969 psychosexual thriller La Piscine, starring Mr Maurice Ronet in the role of Harry and Mr Alain Delon as Paul. Deray’s Harry is similarly coded as full-on lounge lizard, wearing a wardrobe of tight white shirts, blingy watches, open shirts and cigarettes, and there is an almost identical scene where he peacocks by putting on a record for everyone to listen to.

Deray’s Paul meanwhile, is somewhat emasculated in his wardrobe, with flower prints, soft knitwear and green briefs (symbolising jealousy). In Guadagnino’s version, similar sartorial dynamics are in play. Paul, who watches on the sidelines as Harry dances, wears a himbo-inflected uniform of low-neck grey jersey T-shirts, reflective sunglasses and denim shorts.

At the end of the sequence, Harry bursts outdoors and continues dancing on the patio, his energy seemingly too excessive to be contained by four walls. His jiving is broken up with a shot to his daughter, who is floating in the pool wearing a bikini and a pair of bright blue men’s boxer shorts. This is a likely reference to the colour of a shirt worn by Mr David Hockney in the 1973 documentary A Bigger Splash. As the title testifies, Guadagnino’s was heavily inspired by Hockney’s “swimming pool paintings”, their depiction of freedom, sensuality and queerness – the ejaculatory “splash” is an obvious innuendo.

When he is not wearing Charvet or Lemaire, Harry is frequently depicted totally naked: diving free-spiritedly into the pool and fighting with Paul in the violent, erotically charged denouement. Harry perhaps makes the biggest splash when not wearing a shirt at all.