The show for Comme des Garçons' secondary line, named Comme des Garçons Comme des Garçons, took place in one of the brand's spaces off the Place Vendôme mere moments after 9:30 a.m. on Sunday, when most of Paris was still asleep. By the time the show ended not even fifteen minutes later, you were left with the urge to swap your outerwear for one of the collection's coat-cape hybrids. Two in particular played with the idea of layering a shrunken jacket (in wool or velvet) atop a padded blanket, except that the former was just a front panel and the latter folded in on itself so that the final shape was remarkably controlled. And these weren't the only examples that you would place within a Venn diagram showing the overlap of comfy and conceptual. Those twisted jackets—their closures askew and their bunching intentional—expressed a counterintuitive "okay, this works" message that qualifies as originality today.

In fact, much of what was shown might seem familiar to anyone familiar with the label. In part this is because certain pieces—the droopy pants, unstructured jackets, and the recurring white-stitched motifs—have become such fixtures that devotees expect to find them season after season. But it's also typical for Rei Kawakubo to revisit and rethink, which is why you'll find a full skirt that has a slightly altered, uneven drape, or a rumpled serge-stripe jacket that has been afforded a tux tail.

While it might be tempting to project some level of 1940s functional wartime dressing onto this collection, that labeling serves no purpose. What differentiates Comme des Garçons Comme des Garçons are the mini propositions; each idea gets explored as a handful of clearly delineated looks. Just notice how the four graphic-checked coats give way to a sampling of white georgette and cotton T-shirts with tied bows and flattened rosettes. The lineup was as precise as the show was punctual. It takes effort to achieve such ease.