Balmain’s knitwear-heavy, hardware-light runway show last March reflected a new impulse to streamline — and broaden — the brand’s products and collections.

Olivier Rousteing kept swimming in the same direction for pre-spring, beckoning a broader customer base for Balmain by continuing to ply simpler, often looser options with controlled doses of zing and bling.

“Consistency,” he exclaimed during a walk-through, noting that knitwear has grown to 40 percent of the women’s business, compelling him to create yet more slouchy sweaters — and body-con knit cocktail dresses, too, some with tweed motifs.

The women’s collection pinged between short and snug silhouettes, including a bevy of square-shouldered bolero jackets and perky miniskirts, alongside voluptuously scaled wool coats with exaggerated peak lapels, and full-legged trousers.

“The idea is to give a new, effortless silhouette,” Rousteing said, pausing at one rack to pull out a flaring, past-the-knee, half pleated like a kilt. There’s a mini option too, not much bigger than a wrestling belt, to wear over a long white shirt.

The designer plucked details from the archive of Pierre Balmain, homing in on the ’60s this season, but kept his focus on wardrobe builders, knowing customers are spending carefully these days.

It’s interesting to see Rousteing apply himself to new fashion territories, employing several bold florals and Matisse-esque prints, and punching up plainer garments with graphic color combinations that play up the tight or loose shapes.

The designer also toned down his menswear, focusing on tailored coats and jackets in Prince of Wales checks, navy and black. The demonstrative shoulders were there, but sometimes the gold buttons were almost as small as the ones found on shirts.

Shapes were looser and had some swagger. Logos were toned down, but for its Labyrinth monogram and a new hand-painted slogan for sweatshirts: “Balmain is an attitude.”