Louise Gray sent out only 23 looks, but they packed such an in-your-face visual punch, it seemed like much more. "It's just dresses," she said innocently backstage. But the designer also had a full plate of references, from the punk band Rubella Ballet's vocalist, Zillah Minx, to the cubist works of Fernand Léger and David Hockney's eighties-era opera sets. Toss in Debbie Harry and Diana Vreeland, and a sort of logic starts to form around Gray's hyper-graphic pastiche.

Then again, logic isn't really the goal. Particularly driven by Nasir Mazhar's fantastic and crowd-pleasing sideways Mohawk hats, the eye-popping print-on-print-on-print DIY layers, sometimes embellished with what looked like an entire jewelry box of random earrings, had an intended club-faring look. But there was also something a bit sweetly old-fashioned, like the look of a silver-black graffiti brocade skirtsuit shown with matching bar code-print boots—from longtime collaborator Nicholas Kirkwood under the Pollini label—and a matching handbag. Within the mad mixes, it was hard to pick out Gray's great Scottish cashmeres, but they were there in softly marled yarns with a bright contrast band of color and a cuff or hem. Her show notes stated that this collection was about "everything, all the time," and as such that excess did succeed. On the other hand, just one of those knits might make someone a happy girl.