The opening jackets, in a black or a French blue cotton/silk jacquard, were drawn from kimonos, and were paired with loose wool crepe trousers with a dropped crotch. There are so many versions of those pants around, so many adaptations, that I cannot think of an adequate word to describe them. But suffice to say that Pilati’s versions—in three lengths—were well-conceived and flattering, with a slim cut through the waist.

Transparency was another theme of the collection, from the open, caged booties to sheer feminine blouses over matching bras. The collection sometimes felt a bit too constrained for a house with an image as sexy as YSL, and there were not enough outfits like a slim black silk faille skirt with a tight matching top, its puffed sleeves sheer and a deep slit in the front that revealed a dark Kelly green bra. That outfit told a lot, I thought—and it pulled away from the almost chaste and occasional arty Orientalism. There were no lurking suggestions of decadence and romance in this collection, and few colors except the green (insipidly done in a sequined strapless jump-dress) and some blood red sequined pieces. The palette was essentially neutral.

Still, there was a lot to admire and desire in this collection—above all, a slim, belted coat dress in taupe kid mohair, a fabulous peaked-collar trench coat in what appeared to be glazed, cream iridescent cotton, a loose black day negligee-like dress with a low, drawstring-pulled back, and Pilati’s new version of the smoking. This last, in a super-light wool crepe, fit like a cardigan (though with structure in the narrow shoulders), had pockets on the bias, and was shown with those indescribable trousers that could pass for an evening skirt. It cut a chic, modern line.

The models had their hair done in high French twists, with paint streaks of crimson.