Inspired by Gian Lorenzo Bernini’s sensational 15th century marble sculpture “The rape of Persephone,” Martine Rose’s collection seemed to have come out of an artist’s studio hidden backstage. With hand-embroidered white masks covered with paint-like 3D handprints, the models walked on in what felt like rebellious demonstration against fashion rules, complete with floor-sweeping crumpled t-shirts in hand. Rose’s exaggerated body-distorting silhouettes, from the oversized waist-nipped denim jeans sweeping the runway to bright and hard neoprene shorts, subverted the customary usage and feel of each fabric with a mastery fitting for a sculptor. While still nodding to her long-standing fascination with the underground late-80s BOY London movement, this collection marked a sharper turn for Rose towards the conceptual end of the menswear spectrum and I would even say, put her at its forefront. It was only the shiny faux-python trousers that added a distinct sleaze element that you either love or hate but still can’t help to look at. However, even they felt in place, sharing the overall effortless feel of Martine’s ensembles, and just like herself, big hair and even bigger smile as she took her bow in an old-school NYC t-shirt. You can’t help but smile back.