PARIS — Viktor & Rolf sent out a big but charming bag of “no” for their fall 2008 collection. Models had the word “no” painted over their eyes. Shirts were emblazoned with the words “no” and “Dream On.” And on a positive note, a fur coat had the word “wow” across the top.

Despite the negative verbiage, the show was very much a “yes.” Fitted jackets with what looked like rows of gold staples had an intense rock edge. Oversize coats had structure and statement. A dark gray bodice with a full skirt wasn’t just “yes,” but “come hither.” There were hits of color, with some red and hot pink pieces, but mainly the color scheme stuck to black and gray, while the silhouettes varied from tight to voluminous. As with most shows by this Dutch duo, Viktor Horsting and Rolf Snoeren, the show was a vibrant example of creative vision. Even the music played into the theme of rejection with a refrain of “No guitars!”

RELATED: Sartorial Poetry

At Issey Miyake, creativity is a constant, but the direction it will take is a wild variable. A rather domestic mood reigned in this collection by the label’s creative director, Dai Fujiwara. As guests filed into the show, a dinner table set for four people was in the middle of the runway. The white table (complete with jackets hung off the backs) was accented with sky blue spray paint, which created a surrealistic, dreamy look. Though it was carted away before the show began, the visual theme returned in the form of a hunky male model in a white-and-sky-blue denim suit riding an Issey Miyake bicycle in the same colors. An intense spotlight followed him as he rode the length of the runway, stopping only when he met up with a female model in a loose blue silk dress.

More dramatic still was the funereal procession in which models held iron wind chimes in their hands as they walked. Though the mood was dark, the clothes were some of the most appealing in the show. Black jackets with horizontal stripes of metallic gold and silver looked perfectly Manhattan — and showed off the precision that comes with anything made by this brand. Several knit pieces expressed the shape of the body underneath without showing it off.

More attractive still were examples of Issey Miyake’s ongoing experiment with disposable clothing. Several white pants and shirts were made from a material that looked stronger than tissue paper and stiffer than gauze. A few similar pieces made from black material (that looked like satin or coated cotton) were more wearable than the see-through disposable pieces. There was a balance of avant-garde and appealing pieces in the collection presented by Lutz. A developing, interesting line, Lutz focused this season on exaggerated, draped sleeves and sheer layering. Several pieces had sleeves that billowed gracefully without looking overdone. Often those sleeves were attached to jackets that were sharp and tailored. The sheer looks offered rosy red and dark green chiffon layered over black. The formula worked well for both dresses and tank tops.

Though these themes were repeated, one of the best pieces — a belted, sleeveless gray dress with a V-neck cardigan closer — fell into neither camp. And the men’s outerwear stood out with a sense of fun: From the front, the men looked as if they were wearing simple woolen button-up jackets, but as they turned the corner, the jackets had tails of the kind usually reserved for evening wear.