New 8 p.m. time slot, new Palais de Tokyo location, and a state-of-the-art glass and grid-work runway under which dry ice machines pumped smoke. And the new mood appears: matrix and sci-fi. Narrow glasses, long, dark power coats, mesh and cosmic embroideries. At a glance, it was tempting to see signs of Wang’s early work in New York—the way he blended sport and the street. But that’s only part of the story. Wang was in Paris this summer during the Tour de France, and it was the world of cycling—the competitors’ second-skin kits, the shoes that clamp into pedals—that influenced the built-for-speed feeling of this collection. Silhouettes were lean and athletic: the pants leggings-tight, shirts clingy, and dresses cut like a glove. As you might know, from the beginning of Wang’s career at Balenciaga, I didn’t really feel “him” here. But this is the first collection (since AW13) which I pretty much enjoyed. And those lilac elements are simply too good to be true.