Black and white, those diametrically opposed shades, are the binary basis of Japan's fashion avant-garde. A close second: man and woman. Put those things together and what leaps into view—at least as far as Limi Feu is concerned—is the increasingly unhallowed institution of marriage. In the name of unhappy brides and grooms the world over, the designer posited today's collection as a reevaluation of that union, to the tune of Billie Holiday's sweet moan. A hint of her real feelings might have been discerned from the peculiar undertow of violence—at least, that's what the droog-y eyelashes, the bowler hats, and the Doc Martens, with their A Clockwork Orange echoes, seemed to be suggesting. Backstage, though, Limi was circumspect, her counsel simply to ditch the ceremony and get married just the way we are, without all the traditional folderol.

It was probably telling that the white pieces, the most "bridal," were cut from savagely distressed cotton, although the patched holes and trailing threads created a kind of romantic effect that is probably as frilly as Limi will ever let herself get. But it was to basic black that she remained most irrevocably devoted. Hers is a very quiet evolution, and today's show retained the broad strokes of seasons past in its draped asymmetry and full cropped pants. There was also, however, a dramatic volume in an infanta-style dress that could constitute this designer's idea of eveningwear, as well as a kind of classical body-consciousness in dresses that were drawn to the torso with elastication. And let's not forget the slenderizing sheath for a pregnant model, which might have been Limi's way of saying that with or without marriage, there's always life to look forward to.