Marc Jacobs placed fashion squarely in the realm of theater on Monday night. And when the red velvet curtain — hanging the height and width of a full wall inside the Armory on Lexington Avenue — was drawn back, a tableaux of more than 50 models stood at the foot of a three-story stage set containing white steps, windows, and doors. The stony-faced models were positioned in different directions, suggesting store-window mannequins — or a still photo of a 1930s crowd behind two sorrowful lovers parting.

The collection and its presentation had enough power to engage the imagination, which is when fashion gets interesting. Why do some designers rise to international stardom while others churn out department-store staples? As complicated as that answer is, one element is rather straightforward. Some designers make clothes that make us curious, while some make clothing that simply shields the body.

Marc Jacobs gives you something to think about. From twill coats with long pointed collars to boned cashmere sweaters, the pieces were rich in fabric and sleek in line. At first glance, they might be considered conservative or severe, as in the case of one gray polyester suit. But then here comes an alpaca skirt, a minidress with flat panel ruffles, or a maroon satin dress with a giant off-kilter bow. And even in its restraint, this was a dynamic collection. Not every piece was genius, but most had enough ambiguity to indulge the wearer in some mystery.

In a similar way, the Bill Blass collection is like an escape valve for the drama that lurks in the hearts of women. A full-length sequined gown might signal everything you think you need to know about the woman in it. But when sequins are sewn on by hand, the fabric falls flat and slinky against the body, giving it an edge that is otherwise unattainable. A black leather and chiffon evening gown kept up a sexy aura. Suits and menswear-inspired pieces were a nod to elegant power dressing; the best of which was a belted camel-and-beige jacket in a feather print paired with striped trousers. The show closed with a series of 16 black party dresses, most of which were short and kicky, but held less to the imagination than the bulk of the collection.

Deep in the mystery-provoking department is the fall collection of Max Azria, the artistic big sister to the more commercial BCBG Max Azria. Here are dresses that don’t give the game away. Flattering? Sometimes, but more often head-turning. A coral silk jersey dress was paired with a velvet grommet belt. A similar belt accompanied an oversize muskrat vest and a colorful skirt of a jagged patchwork print. That print was used on a larger scale for a full-length gown with a halter top, and a bolder print gave a pleated organza dress a lilting flow. This sort of creativity, as the designers have said, is intended for an artsy type of woman, the one in the spotlight — not in the audience.

At Tibi, the collection was a shift from the past. Typically long on colorful prints, this season, designer Amy Smilovic showed much more black than in recent memory. When color did turn up, it was bold: A long burgundy gown with a halter top had a shiny dot print. A yellow and blue scarf print peeked out from under coats and skirts. Less attractive was the yellow and black tartan fabric, but sexy pieces like a long-waisted cream-colored sweater with a deep V-neck, paired with a blue print skirt, made up for it. The collection offered a more grown-up version of Tibi, which might part ways with what its clients expect. But pieces like an exaggerated, oversize metallic halter dress with folds of flowing fabric keep us guessing more than pretty print tunics. In this game, that’s what it’s all about.