Fyodor Golan's show was held at the end of a graffiti-splattered South Bank railway tunnel, far from the stately courtyard of Somerset House. Inside, a vast inverted pyramid acted as the collection's literal fulcrum, streaming images of both models and audience throughout the presentation. The clothes themselves represented a dramatic shift in intent: light, sleek, simplified, streamlined. But they were simply the backdrop to a Dayglo-bright carnival of colors and surface manipulations. The show notes claimed artists Lucio Fontana and Robert Morris as inspiration. In reality, this translated into fluorescent slits on monochrome minis, or rainbow-banded columns which collided digital prints with gleeful abandon. After a day of polite shows and polite clothes, it was genuinely exciting to see someone trying to challenge themselves so strongly. But it was hard not to feel that Fyodor Golan's heart may lie more in the sculpted flowers, sheaves of fringing and inflated baby doll dresses that punctuated the show. Still, it will be intriguing to see where they go next. Today's garments, reflected and distorted onto the pyramid's sides as smears of motion and iridescence and color, suggested tantalizing, hyper-real possibilities. As the song says, even better than the real thing.