Roksanda seems to have a gift for the open air. Every time she risks showing outside, it works out, and this season she used the roof garden of the Brutalist National Theatre in late-afternoon September sun. The weather, the venue and a happy audience all leaned her way.

I think her clothes need that kind of light. Her volumes and silhouettes look good in motion and from every side, and a rooftop gives them room to move.

Gloves appeared in more than a third of the looks, which I found a sweet, graphic touch against all that sculpture. It all begins with her midi dresses, so that is where I would start.

Every season Roksanda studies a woman artist, and this time the springboard was the Swiss textile artist Francoise Gossen. Her braids and colorful hanging threads appeared in abstract ways, pouring out of giant clutch bags or twisted into thick ropes that cinch the backs of tailored jackets.

The other collaboration was with herself. She studied fine art in Belgrade before London, and this summer she went back to painting, turning a series of women's faces into prints on large silk scarves. "I wanted to make them into pieces that become dresses-slash-tunics," she said.

Bags showed up in about a third of the looks, and I would happily carry one of those oversized clutches.

The show's gowns are where the drama lives. A few were built from tufts or skeins of yarn, some had arched peplum skirts that read like sculpture, and others were draped in synthetic crocodile. Croc-effect leather appeared in only a handful of looks, so it felt like a punctuation mark, not a theme.

I love the idea of a gown that looks hand made, almost knitted, and still moves like silk. Larger brush-stroke prints add a painter's touch to the same silhouettes.

The caped dresses in the grid below carry that same sense of sculpted movement. A cape adds one more thing to swing when you walk, which is exactly what this designer is good at.

What I keep coming back to is the audience. The women wearing Roksanda on the rooftop nodded their approval, and I think that tells you something. These are clothes people actually want to be seen in, especially the red carpet crowd.

Pink and strapless looks were small touches, each in only a handful of looks. I like that, because the real attention goes to cut and print.

If I could pick one thing, it would be a painted-face scarf dress and a pair of gloves. It is sculptural but personal, and it comes from someone who first trained as a painter. That is why the clothes feel so alive in motion.