The collection was an intersection of “The Turn of the Screw,” “Fanny and Alexander” and the pope’s wardrobe. And while it had a sinister edge, it was one of the best outings so far from Edward Meadham and Benjamin Kirchhoff. The show began innocently enough, with jaunty sailor skirt suits adorned with shiny black panels, nubby sweater jackets and elegant coats. But it quickly turned dark in the form of black PVC jackets and coats, and shiny black ruffles on skirts, tops and capes — with models wearing sooty veils over their faces. There were also white oversize shirts with piecrust collars, and prim, embroidered dresses inspired by priests’ vestments. Among the more wearable pieces were a black velvet dress with a dramatic white lace collar, and a gown printed with a ballerina motif and black lace edging at the bottom.