Sarah Burton toiled alongside Alexander McQueen for years before his sudden death in 2010. Now at the creative helm, she's uniquely qualified to intuit his vision, infusing it in everything she does at the house. Which, by all accounts, is a lot—she's heavily invested in every one of the collections, whether big or small, women's or men's.

In the label's second line, McQ, presented in a showroom setting, the late designer's favored themes of disruption and destruction became apparent in a compact array of artfully shredded and intentionally weather-beaten wares. The notion of squatting was big, seen in unsettling prints by the U.K. illustrator Fergus Purcell; concert tees had made-up names for legal reasons, adding to their mysteriousness. A silver foil-effect knit exuded a home-distressed quality, and a specially treated crinkled tee came with a bag to avoid any loss of crinkle in the washing machine. Some looks, like patchwork sweaters, were suitably slouchy and droopy, while others laid flat with an army-surplus crispness. Black sandals and clunky mosh-pit boots rounded out the underground appeal of the collection.

There's no flaw to be found in these clothes; they're perfect distillations of the house codes. Maybe too perfect, but Burton isn't afraid to push buttons. Whereas the keffiyeh scarf as a fashion reference is fairly played out at this point, Burton diced and spliced it in novel ways, rendering it in the house's signature razor-blade motif to unnerving effect.