Reminiscent of a frosty spring morning, Rick Owens’ almost entirely black and white spring collection emerged through a misty fog. And there they were, Owens’ ambiguous angels, floating down the runway and into view like an otherworldly army. You’re never sure if they’re on the side of good or evil, or if there’s even a difference to Owens, but you’re mesmerized nonetheless.

Their armor this season included loose maxi-skirts, voluminous blouses and jackets like cocoons, leather bat sleeves or sleeves that hugged the upper arm before flaring out at the elbow, floor-length white robes fit for a high priestess, tunics tied at the waist with rope, and, for the first time, a jarring color: orange. The geometric, art-deco patterns at the end were the only connection to familiarity in an otherwise unplaceable collection.

These were stand-out, high-concept clothes destined to be worn by the designer’s die-hards, monied goths of Tokyo’s Ginza district or the odd Australian actress like Cate Blanchett. Pairing subdued yet ultra-modern ensembles with space-like platform heels, Owens gave a nod to the future without resorting to theatrics or sleight of hand.