Change is more often than not a subtle breeze that blows through a collection. At Lemaire, rebranded last January to sole moniker of its eponymous founder, it was so. The work of Christophe Lemaire, its languidly ascetic purity, always eschewed any blatant displays, removed sentimentality and promoted a form of restraint. That was still the case, evident in the way an overcoat enveloped the silhouette or in the restrained palette of urban neutrals, in black, blues and creams. But the growing prominence of co-designer Sarah-Linh Tran brought a softening in the severeness, and attention to little twists in the Lemaire woman's sobriety.
Today, there was also something more sensual in the way a beautiful cashmere sweater in soft pink stretched over the breasts, and how fabric moved against lithe bodies. But the sensuality felt innocent, although grown-up. Here is a woman not unaware of her sensuality, but rather unconcerned with it, like a dancer moving through a day-off. For example, an A-line coat looked roomy but at the same time justly proportioned.
One moulded leather bag featured a pair of breasts, but there was nothing lewd about them, in the same way that ethnographical pictures of indigenous tribes are devoid of sexual overtones. Certainly, fashion is an ocean of imagination where Lemaire offers an island of pragmatism. One thing came across very strongly: how a fistful of good ingredients can be repurposed time and time again. The real news was the lightened mood to the brainy, Left Bank Frenchness that has characterized the brand thus far.