Where shall I start? It’s hard for me to critique Thakoon; I’m completely and totally biased. Not a week goes by when I do not pull on something from Thakoon: a dress, a top, or as he says, a “dop” (a top as a dress).

I walked into The Plaza expecting what I always do from him, but instead, I was surprised yet again. That’s what I love about Thakoon: just when you peg him as a certain designer, he blows you away with something so out of the ordinary. His main muse for Fall 2012 was a 1980s art installation recreating Amsterdam’s red-light district – and you could sense it from his new brand of artsy sexiness. It’s all about making the grand entrance, and a grander exit.

Strips of neon emblazoned on satin and tufts of Mongolian lamb fur helped bring on the flash; mildly padded hips and lipstick-lacquer patent shine accentuated the femininity; and the appearance of hearts – both cute and biological – enhanced the erotic undertone. Citing sixties references (like Audrey Hepburn), his hourglass silhouettes took on a sterner, stricter structure than we’ve seen in the past. They are designed to bring attention to the waist and shoulder, for maximum sensuality. This sense of the classic womanly figure was set off by a youthful play on texture and a playful exaggeration of shape. A good amount of paper-bag waists kept a sense of humor at close hand.

The most notable looks, though, are the understated dresses. And there were a lot of them, some with unexpected cutouts and others with colorblocking, done Thakoon-style. But it’s the fuchsia duchesse-satin, strapless bow-back tunic that stole my, yes, heart.