Simone Rocha returned to the Old Bailey, London's central criminal court, for her third spring show there. She wanted a very pure, very focused show, and with menswear now in its own lane, she aimed all of it at womenswear. Instead of a long story, she built from one episode: the 1990 rediscovery of a long-lost Caravaggio that hung, misattributed, in a Dublin Jesuit dining room for more than fifty years.

I love that she took the ordinary-meets-awe-inspiring idea and ran with it. Rose or ruffle necklines framed about a third of the looks, and silk organza slip dresses were restructured to fall off the body as though flustered by some unexplained intervention.

The dresses are where the contradiction is most fun, so that is where I want to begin.

I keep thinking about the neckline, because Rocha put her models in ornate collars of hand-furled roses on everything from a velvet dress in Caravaggio-inspired blue to a black leather drop-waist coat. That is how a rose becomes a top's whole personality.

The outerwear was the other half of the lesson. There was a scarlet Harrington jacket with rose embellishments at the collar, and almost municipal-looking anoraks adjusted with pin-embellished Velcro panels. Hoods appeared in a handful of looks, along with head-enveloping taffeta cocoons that resembled mantels or habits.

So when I look at a bow-detail satin top or a floral brocade one, I imagine it under something plain. Ordinary on top of extraordinary is the whole game.

The accessories lean quiet, which suits me. Trapeze dresses were hemmed in boas adapted from her last menswear collection at Pitti, and boas showed up in a handful of looks, as did strapless shapes. About one in five looks also had knickers on show, which pushes intimacy right out into the open.

It makes sense to me that the shoes should stay out of the way. With so much happening at the neckline and hem, I would reach for velvet Mary Jane flats or a leather mule, something that lets the clothes stay the center of attention.

Rocha said she wanted everything to feel "very touched and pushed," and I think the best proof is how much she cut back. She dropped many of her decorative signatures and came out with a collection that feels sharper and more concentrated for it.

I would wear a taffeta skirt shot through with metallic thread, a plain anorak over the top and flat velvet shoes. The thing I remember most is that thread, which does not make the fabric prickly and lets the shape bend to whoever is wearing it.