It was a tale of two collections: a high-energy one dripping in bling — crystal fringe, chunky pearls and studs that sparkled like diamonds — and another with Edwardian grandeur, black lace and exploding crinoline hems. Junya Watanabe’s looks were outrageous, and thoroughly entertaining, although the designer was playing dice with controversy, sending out a diverse cast of models sporting statement Afros cut into thick, colorful wedges.

The show was called “Funky,” and had models bop down the runway to a funk beat, eliciting hoots and cheers from the audience. They wore dark catsuits covered in a meteor shower of silvery bits — sunglasses with long crystal fringe, Michael Jackson-style studded gloves, and ropes of pearls and chains around their necks. At one point, a model walked out dressed in a giant crystal chandelier.

They kept up their stride as the outfits evolved into black tulle dresses with silvery adornments and a regimental feel; minis paved with giant sequins and edged in fringe, and bodices dangling with shiny little circuit boards and chains. Cut-up tweed or leather biker jackets shone with fat pearls and sparkles while cut-up trenches were transformed into everything from cape coats to an apron dress.

Then the lights dimmed and the music changed, with Michael Jackson singing “I Just Can’t Stop Loving You.” Out came the black gowns, some long, loose and crinkly, others with ruffles or crinoline “My Fair Lady” hemlines. The sheer, black statement hats should create quite a stir at Ascot next year.

One runway show is ambitious, but two? Watanabe always has a lot to say — about fashion, society and the human condition. Maybe this season his message was that quiet luxury is dead, and it’s time for fashion to make noise — and shimmer — once again.