The invitation arrived attached to a little all-white Rubik's Cube charm, and I thought it was the smartest hint of the season. Everything in the room was being rearranged: an all-white, disco-floor set, a disco ball overhead, and Silvana Armani leaning into a sleek, spare, nocturnal mood that Grace Jones wore on an album cover in 1981.

The show started more than thirty minutes late and nobody minded, which tells you something about how relaxed the house has become. The models came one by one, with detached serenity instead of the forced smiles her uncle liked, and I found that calm quite seductive.

It is a collection that begins at the top, so let's start with the jackets, because the black tuxedo dresses in liquid silk and the chrome-studded pullover set the tone for how the whole thing feels.

More than half the looks were trousers or jumpsuits, and to my eye that is the quiet backbone of the show. After the dresses of black liquid silk and the evening pieces hung from shiny resin bustiers, the trousers are what keep the collection grounded and wearable.

I love a hidden-pleat trouser in silk cady, and a tuxedo wool trouser, because they let the nocturnal mood walk into a regular day. Shorts and strapless pieces each showed up in only a handful of looks, so this is not a collection about bare skin. It is about long, dark lines.

If I were building a spring outfit from this runway, I would start here and add one sparkling thing on top.

I will be honest: bags were not what I carried out of that theater. The glimmer lived elsewhere, in butterflies embroidered in paillettes on tops and dresses, in vests of delicate chain mesh, and in those flashing chrome studs.

That is why I like the evening bags best, the clutch in silk satin and the handbag with rhinestones, because they pick up the same nighttime sparkle without shouting. A geometric leather handbag and a plain shoulder bag steady the picture for daytime.

Sunglasses and fringe each appeared in only a handful of looks, which suits me. The accessories here are small, deliberate punctuation marks rather than the main sentence.

The part I keep replaying is how present Giorgio Armani still was. Backstage, Silvana said one look re-created his First Communion suit, and a crystal-embellished jacket carried a portrait of the founder himself. I found that unbearably tender, and not at all nostalgic in a heavy way.

The butterflies tie it together. They read as her ongoing negotiation between metamorphosis and precedent, and I think that tension is why the collection feels alive rather than careful.

I would wear the trousers with the studded pullover and keep the rest simple. I came for the rearrangement and left feeling the house is in good, steady hands.