The first look was a gray pinstripe peak lapeled jacket ballooned by the neoprene within, to excessive proportions, worn over incongruously skinny pants and wedge sneakers whose pastel paneling complemented the teal body of the white collared shirt above.

A pink cashmere sweater under a mint high-necked fine gauge knit above some wide but tapering blue pants, held fast by a felted belt-suspender combo, looked very back-then Giorgio Armani.

The embroidered hounds on a pale green knitted zipped shirt with an oversize collar were an Acne Studios-field take on Brooks Brothers prep. And the swollen camel coat over another camel coat and camel zip-up looked like a loving but irreverent re-rendering of Max Mara, perhaps the greatest brand in all of the fashion that should make menswear and doesn’t.

There is no belittling meant in mentioning these other designers, by the way: Johansson was riffing on a decade whose style they were fundamental in shaping; seeing them here so clearly just meant he was getting it right.

There’s also tactile outerwear that gives new meaning to the notion of being stylishly covered for the cooler weather. As a whole, the range is what you would expect from a brand that is renowned for its elevated choices in design — everything here is clean and practically flawless, which is a nice contrast to a lot of the mixed-and-flipped “streetwear” that’s taking over some of the other collections appearing on the runway.