If only for impact, there should have been a lava lamp on each table. Swirling psychedelic motifs were projection-lit on to a stark white background, and multicoloured strips of twisted transparent plastic hung from doorways. Fashion guru Joyce Ma was taking her guests back in time - via a video montage of her 25 years in business and through the 1970s-influenced gear that was paraded down the catwalk. Sunday night's Joyce charity fashion show at the Grand Hyatt - in aid of the Children's Cancer Foundation - had been billed a social calendar highlight. It was also one of the sleeker catwalk events to be held in recent times, stylishly choreographed by creative consultant Bonnie Gokson. 'It's going to be simple and relaxed but very stylish,' promised Ms Gokson before the show. And that was no exaggeration. Ms Gokson set out to show off the mens' and womens' autumn/winter of major Joyce labels to their advantage, with none of the contrived theatrics often associated with runway shows. Instead, the prime international collections - everything from commercial hits like Giorgio Armani and Gucci to eclectic confections from Dries Van Noten and Yohji Yamamoto - were shown in all their innate simplicity. The translucent make-up and softly pulled back hair of the female models reinforced the message of purity: this season, decree the world's fashion maestros, is about clean styles and lean silhouettes, modernity with a dash of retro bravado; the 1970s are, after all, a sine qua non of current trends. In many ways also, the show was something of a Joyce renaissance: managing director Roberto Dominici had conceded that an economic downturn and the departure from Hong Kong of some of the boutiques' loyalists had affected sales. In any event, the past two seasons appeared fragmented at best. But as of Sunday night it seemed as if the Joyce name had regained its focus and the directional style strategy that is a trademark. The signature looks that came through were representative of the season's style ethos: a rebirth of luxurious basics; slinky clothes that are components of classic fashion given an avant garde edge; an infusion of folkloric styles; and the sophisticated evening wear which has traditionally been a Joyce strength. There were the unadorned and perfectly tailored neutrals of Jil Sander; the no-nonsense but impeccably crafted clothes of Armani; the upholstery prints and blanket checks of Prada; the bright cherry print frocks and granny coats of Dolce & Gabbana. Gucci's finely cut pantsuits and sinuous white jersey dresses were definite crowd-pleasers, as were the 1970s-influenced velvet mens' suits in cranberry red and midnight blue. In the 'Calcutta Meets Couture' selection, Dries Van Noten's floaty ethnic-inspired ensembles were shown on beribboned models: long transparent mousseline skirts were wrapped over slim pants and embroidered silk waistcoats softened the structured jackets. The ingenuity of Japanese designers Issey Miyake, Yohji Yamamoto and Comme des Garcons was visible in individualistic creations that looked as if they had been engineered instead of merely tailored: multi-panelled sleeves, bias-cut dresses and fortune-pleated sheaths were Origami-inspired works of wearable art. And in a glittering finale, a line of tuxedo-clad men streamed down the catwalk, setting the scene for the enchanting gowns to come: full and ballerina-length formals in duchesse satin were trimmed in rich fur or sprinkled with leaf print motifs. Accessories like elbow-length satin gloves, rich velvet stoles and spangled shoulder-dusting earrings lent an air of Hollywood-style romance. The show concluded with a retrospective of Joyce Ma's foray into fashion with the opening of her first store in the Mandarin Hotel in 1971: with that, her reputation as Hong Kong's doyenne of fashion was established. With luck, she will remain that yet.