Welcome home, Calvin Klein. It can hardly be a coincidence that Italo Zucchelli’s first collection to be shown in Calvin Klein’s hometown stayed truer to the brand’s identity than any other of the creative director’s previous efforts. The show opened with several similar looks — slim gray suits with monochrome furnishings — and continued with variations on the themes of sharp tailoring and mélange fabrics.

Cleverly set to Leonard Bernstein’s darting score of “West Side Story” (a knowing wink to the show’s location), the repetition delivered cinematic intrigue. By showing so many ties with suits, Calvin Klein did far more for the neckwear industry than any other brand this season. (Ironically, its parent company is retreating from the neckwear manufacturing business.)

Commercial viability? Minimalism? Athletically toned physicality? Check, check and check. But the collection also succeeded in advancing Zucchelli’s unique body of experimentation. He exercised control over his urge to go all-in with industrial fabrics and narrowed his focus to one technique — normally used to make bicycle-seat padding — of bonding fabric to molded foam. Despite the padding, the silhouettes remained surprisingly streamlined. In fact, the foam was most appealing when it was applied most generously — that is, in a puffy coat that resembled reticulated armor thanks to the spacing of the molded surfaces.

Zucchelli added subtle industrial flavor to tailored outerwear by applying angular hardware including hook closures and flat, cylindrical rivets. Powdery leather bombers and shearling half-zip hoodies rounded out the outstanding outerwear offering. The designer showed his previous 11 collections in Milan. The change of venue is supposedly temporary, but it suited him so well that he should strongly consider keeping it here.