Everyone has his or her own idea of what a perfect day would be. To Jun Takahashi, on a perfect day — the title of his fall collection of wonderful, perfect imperfection — “nothing happens,” he said backstage.

 

In the zany fairy-tale realm of the show’s grand, graceful beauties, ranging in age from newly post-pubescent to silver-haired seniors, on the best day anything can happen. It takes you deep into your own world, where you can live and dress as you please. That could mean donning a thorny crown and a shirt printed with golden hair cascading over a painting. Putting on your high-waisted pants made from a mossy green material that looked like fake astrakhan, and pinning a gold watch and mini handbag on the pocket. That was the show’s opening look. It set a fantastically strange baseline on which Takahashi built oddball queens of comfort dressed in cocoon layers of deconstructed knits, fuzzy pajamas, elegant tailoring, egregiously fake fur coats, and cozy, extralong collegiate knit scarves.

 

It’s almost impossible to coherently describe everything going on in the clothes. There was trompe l’oeil, classic men’s tailoring, trenchcoats, cardigans, pajama pants, corseted ballgowns, dog prints, a coat with a purple furry collars and green pom-poms. In Takahashi’s words, the collection was “a style of relaxed wear with spices in an Undercover way.” The women he imagined seemed to carry their world with them, whatever made them happy — a handbag that looked like a frilly pillow or a fanny pack shaped like a castle, padded headphones, a mini guitar bag. They looked crazy but stylish, exuding a euphoric calm despite all the bizarre accoutrement (much of which was wearable on a single-item basis).

 

The refrain of Lou Reed’s “Perfect Day” hung in the air, “You’re going to reap just what you sow.” Make what you will of it, the collection, the song, the show’s title, life.