Pedro Almodóvar's gorgeously twisted The Skin I Live In was the uncanny starting point for Carly Cushnie and Michelle Ochs this Fall. The story of a plastic surgeon obsessed with turning a patient into a perfect simulacrum of his dead wife—one nip and tuck at a time—was a fitting choice for a pair who've made their name by shaping and sculpting the female form with second-skin dresses.

Indeed, it looked as if the pair had traded scissors for scalpels this time around. Eye-shaped cutouts above the breasts on body-molded dresses recalled a surgeon's careful incisions in skin. The negative space created by these and other apertures looked at once like peeled-away layers of the epidermis and bandages placed just so. Disarmingly sexy, they were perversely powerful. A few dresses referenced bandages more literally, with ribbons of fabric woven through the garment that created textural volume on the sleek shapes. For more embellishment, silver zippers made for a groovy, tactile graphic across the bust and down the sides of an attenuated LBD.

Still, not everything was tight, tight, tight. Silk crepe dresses in brilliant azure and emerald fell suggestively from the body; they were just as sexy as their in-your-face counterparts. The closing dress, in black silk crepe, looked like a skirt with a half-unzipped bustier top. Closer inspection revealed that the pieces were attached by a thin sliver of zipper that controlled the amount of skin on view. Almodóvar would approve.