He colored nubuck overalls and a biker jacket raspberry, pairing them with "get it girl" muscle shirts and T-tops.
Grunge trousers came in a black patchwork and a faded mint pattern combined with a spotted pony print in black, and florals in large and small prints.
A sheer apron dress with plaid applique was open at the back, save a large X in black straps. He put subtle sequins on a floral print with a black background. A cropped open-embroidery sweater in Army green was worn over a black tank and jacquard trousers.
Other looks were more classic, including a short suit and antique white tuxedo trousers and a silk utility vest in antique white and espresso.
"It's about taking what you have in front of you, cutting it up, not throwing anything away and mixing it up again," Lim said after the show in a cavernous warehouse space in an old post office south of the New York Fashion Week tents at Lincoln Center.
Skirts for every day had folds of black patchwork split in the front.
Lim was influenced by the "altered views" of 1920s Dadaists through their inheritors, including the beat writer William S. Burroughs and David Bowie, Kurt Cobain and Radiohead.
"But I don't want it to come off as you're homeless, so we disguised it and veiled it with sheerness, so there's an illusion to the sensuality," Lim said. "It's about self-creation, just dealing with it and making it up as you go along."
Fellow designer Richard Chai and Gia Coppola, the actress and photographer granddaughter of filmmaker Francis Ford Coppola, were on Lim's long and winding front row.
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