Like Todd Lynn, fellow Canuck-in-London Jean-Pierre Braganza's approach to fashion has always hinged on rock 'n' roll (in his case, to be specific, industrial metal). When Braganza is not designing, he's jamming with his band—or outfitting rock stars like Trent Reznor of Nine Inch Nails. That rock 'n' roll element hasn't wavered much for him, but at today's outing he decided to keep us all on our toes by throwing in some Italian Baroque and biblical references.

When the first looks of printed visages appeared, it seemed that Braganza was a little late to the face-print party that Dolce & Gabbana and Prada owned in seasons past. But the designer's references to Artemisia Gentileschi, an Italian post-Caravaggio painter, were a bit more beefy. Artemisia painted powerful women—the work that made her famous was her depiction of Judith, a biblical character that liked to lop off the heads of baddies. "What can I say," Braganza said backstage, explaining why he chose Artemisia's painting of Judith for his prints, "I like women in powerful positions."

Shapes were also a talking point. Braganza's silhouettes were all about the oversized—a lot of cocoon coats, NFL-esque shoulders, and a good dose of judo-like silhouettes in trousers and sweatshirts. It was fierce and slightly intimidating; good thing there was some levity in the form of a bicep pack (a humorous take on the fanny pack), positioned on the arm of a leather jacket. But then it all went a little off piste: Asymmetrical skirts and fluid tuxedo looks pointed to a lack of cohesion in the thought process. Braganza's sharpest pieces embodied his rock 'n' roll DNA. A superb leather top with zipped sleeves and leather skinny trousers showed his skills to their best advantage. For this designer, honing his message a bit more and sticking to what he knows best may just be the ticket to the next gig.