The show started with Ukrainian ballet dancer Sergei Polunin, still and silent in a pair of flesh-toned tights, crouching in the spotlight. The moves he unleashed afterward were outrageous -his legs and tattooed torso whirred down the runway like a very beautiful assault helicopter. His performance was absolutely fabulous, but it didn’t have much relevance to the matters of menswear at hand. Once it kicked in, this collection was consistent with the last few presented in the showroom by Milan Vukmirovic, but with a steroid boost of runway pirouette pieces. So the star-camouflage bombers, the oversize tees and track pants in wool, and the oddly asymmetrical color-blocked outerwear -plus color-blocked pants below a suit- were as to be expected. Not entirely new was the ikat blur of black on a pair of embroidered white track pants, or the similarly blurred lateral abdominal section on a bomber. Around this bit of bomber, though, came the innovation; twists and curlicues of an ersatz Japanese decoration that informed much of the lineup. Lucky Blue Smith's first Milan look was a black wool coat whose collarless hem was framed in white, all reined in by a loose belt. Other coats -and there were some fine coats here- featured belts from which hung a tricksy line of fringe. There were beaded souvenir bombers too. The trouser of choice was loose and wide and hemmed six inches below the kneecap. Also on offer were white ribbed turtlenecks made a few months too late for Drake. When Monsieur Vukmirovic veered toward tailoring, it looked bulky, especially at the neck. But he cuts beautifully for bodybuilders. This was a frustrating collection that contained some fine pieces, but some distractingly meaningless fripperies, too. Better get the basics from Ports 1961, however, and you will be very happy -especially if you work out.