Roksanda Ilincic doesn’t just make clothes—she builds them. Big, sculptural, sometimes unwieldy things that feel like they belong in a gallery just as much as they do on a body. Think swooping drapes, ballooning proportions, sharp angles where you least expect them, and an absolutely wild approach to texture. She’s been at this for a while now, and every season, she adds another layer to the architectural playground that is her work.

Maybe that’s why she’s always looking beyond fashion—pulling ideas from avant-garde female artists who mess with shape and form in the same way she does. This time, it was the late Dame Phyllida Barlow, a woman who made massive, chaotic, almost precarious-looking sculptures out of things most people would toss—foam, cardboard, duct tape, MDF. Ilincic loved that. “She used materials that were previously basically discarded, or looked like it,” she said. Bits of an old interview with Barlow even crackled through the show’s soundtrack, talking about the power of negative space and the courage to push ideas further.

Some of Roksanda’s die-hard art-world fans probably clocked all those references immediately (they always do). But even if you didn’t, the message was clear: this was clothing meant to take up space. A black coat smothered in layers of tangled raffia, a tuxedo skirt suit dripping in fringe, a finale of 3D foam sculptures masquerading as eveningwear—none of it was designed to shrink into the background. Even the more “wearable” pieces (if that word applies here) had an element of drama: oversized evening coats trailing giant, clattering paillettes, slinky asymmetric satin dresses in colors dialed up to full volume, and sharply draped daywear in classic men’s suiting fabrics.

She knows exactly who she’s speaking to: women who like to think about what they wear, who understand the weight of a reference and the power of a silhouette. And this season, she’s giving them even more ways to be seen.