Salvatore Ferragamo made the Invisible Sandal in 1947, with a cut-away wedge and an upper of transparent nylon monofilament. Maximilian Davis took that single shoe as the starting point for this whole collection, and I love how far he stretched it.

The path ran through Lee Miller and Man Ray, and the solarization technique they developed together. Backstage he talked about the 1940s silhouette, when women were bringing back the waist, and said he wanted the waist to be the feature of a lot of the looks.

He delivered. A belt sat at the waist in most looks, and I think that is the most honest, most wearable idea on the runway. Some were buckled menswear belts, a few were doubled up, and a few turned up at the bustline of dresses, which is gently surreal in the best way.

Here is where the show gets practical. A bag turned up in more than a third of the looks, and it makes sense that a house built on accessories would give them real runway time. The newish Cara bag was refabricated and shown plenty.

What I keep coming back to is how well a small bag sits with all that waist definition. A mini patent clutch or a calf hair clutch keeps the line clean, and a shoulder bag hangs right where a belt would draw your eye anyway.

I would reach for the East-West shape. It feels like the show in miniature, a little unexpected, quiet, and made to be worn with something cinched.

Of course the shoes matter most here. The Invisible Sandal's F-shaped construction was abstracted into new pumps, wedges, sandals and slingbacks, some with contrasting elements that make the material feel almost insubstantial.

The Vara pump came back reworked, its bow streamlined into a more austere, origami-like form. I think that is the right call, because the old bow was a little sweet and this one looks like it has somewhere to be.

I also noticed how many of the textures played with exposure. Leather showed up in about one in five looks, often cracked and weathered, as though sun-struck, and a handful of looks were in high-shine rubber. A calf hair pump or a suede ankle boot would carry that sandy, parched mood from the clothes right down to the floor.

What stays with me is how sensual and how smart this collection is at once. Davis drew on desert tones, dry cotton-linen and silk, and an abstraction of sand in movement, then closed on paillettes inspired by those photographic experiments with light and film.

He said the collection was about exploring the joy of something, and I believe him. The belts feel like a grin, and the sheer silk-wool suiting that lets you see the guts of the jacket feels almost cheeky.

I would start with a belt and a good pair of boots, and build the rest slowly. Sunglasses showed up in only a few looks, but the whole show felt like squinting into bright sun in the best way.