Tokyo James’ spring collection — titled “Chaos” — was a study in characters clad in extravagant, research-intensive concoctions, interspersed by more credible outfits drawing from the same techniques but stripped off of the former’s cinematic flair.

It was interesting to see the British Nigerian designer — for the last few years a fixture on the Milan calendar, either with virtual or physical shows — explore two facets of his expressive vocabulary.

“It’s just different stages in life… it’s just basically how society moves living [through] chaos, people are taking to different things to get ourselves through this trauma,” James said backstage. “There’s a little bit more of a party mood. The world is in turmoil. You need some joy,” he said.

Take, for instance, the model donning a millefeuille ruffled top and pant ensemble crafted from organza petals edged in pumpkin-spicy-orange piping to give them structures. She was clearly embodying a flirtatious woman, swishing through the runway — or the dance floor IRL — in her anemone-reminiscent outfit. James called her “Frou Frou.”

Her flamboyant sophistication was countered by “Jesus,” a male model sporting a distressed shirt tunic, crafted from two-layer jersey, the external one torn into shreds and scraps dangling and shuddering at every step. He looked a lot more troubled than her in life.

Amid this crafty va-va-voom, a simple and very ordinary trucker jacket with matching jeans looked like it didn’t belong on this runway; ditto for the leopard print jacket and black eyelet pants, which he describes as “dry lace.” Yet — infused with streetwear credibility — they form the backbone of the brand’s commercial appeal.

In between the two opposites stood the most interesting looks, including a triptych of black organza shift dresses bedazzling in tone-on-tone sequin and crystal embroideries or the loose mixed-media shirt made of organza panels over-stitched with knit yarns and textured cotton.

And serious leatherwork, for example in the hooded biker jacket with woven panels at the front.

James incorporated many artisanal techniques from his native country — beadwork among them, appearing on the bottom half of jeans, the lapels of oversized blazers and dapper newsboy hats.

James has gotten increasingly serious about his business in recent years, and more mature, sharper in his fashion vision.