Rei Kawakubo’s one-line show note this season was “Let’s get out of the black hole.” It’s unlikely she was turning quantum physicist. In today’s political climate, it’s easy to become trapped in a black hole of despair. Many of the models on the runway appeared to be hiding from the world by wearing face masks that suggested an impulse to shield oneself from what lies ahead. Yet these masks still allowed the face to peek through, a nice juxtaposition between protection and exposure. The models, it seemed, were in the act of emerging from their own black holes.

These masks – ranging from Eyes Wide Shut–style masquerade eye masks to the hockey masks Jason Voorhees made iconic – felt like a continuation of a recurring motif this Fall-Winter season. Across the runways, designers have emphasised clothing as a form of self-protection, whether through Walter Van Beirendonck’s silk-wrapped guns or Rick Owens’s daywear constructed from stab-proof Kevlar. Kawakubo’s take, however, offered a more hopeful outlook, suggesting not only defence but also a possible way out of the prevailing bleakness.

Despite the excesses of fabric, which could be read as yet another protective layer, there were striking moments of exposure throughout the collection. An exposed midriff here, a bare chest there. The tension between concealment and vulnerability was very compelling, the idea of the models wearing protective masks while leaving their bodies open. Across many of the looks, the majority of which had a distinct eveningwear vibe, deconstruction remained central. Double-breasted jackets were cropped at the front while their sides stayed intact; ankle-length dresses spilled out from beneath blazers; ruched materials overtook entire silhouettes. There were also moments of surprising delicacy, such as boys wearing silky nighties (what else could they be?) beneath heavy coats, or in those simple dresses and skirts. On foot, painted slogans appeared on supersized shoes – “Wear Your Freedom” and “Live Free”.