For fall, Sweden’s most successful label took inspiration from the next subject of its own esteemed Acne Paper, The Body in Art, deploying clashes of texture, color and shape. The opening brushed-wool maroon jacket had a kimono feel to it, with high slits in slick leather skirts completing the boxy shape.

Studying the show, one then thought of Cristóbal Balenciaga, as oversized proportions—cocoon and padded—were suffocatingly reined in with white elastic waistband as belts. The contrasting bolts of shocking colors—bright tangerine, sky blue and apple green—on outerwear elucidated the show’s reference to surrealist photographer Andre Kertész. But the finale of eighties-inflected models marching to New Order (so quickly you could barely get a glimpse) captured the swiftness with which a brand that once only made denim could now contour the female form so expertly.

Did the opposing elements make a happy collision? Yes. After the show, the old Post Office space opened up into a clubby environment, with Campari cocktails made so strong its cult following erupted into dance. 

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