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The Big New Idea Is Modesty New York Times
Six months ago in her premiere show for the French house Céline, Ms. Philo, a British designer, showed easy, jaunty sportswear. Confronted with the utter common sense of doing something beautiful that also jibed with a new climate of modesty, American designers began stripping away a decade’s value of postmodern significance to reach a plain A-line skirt.
On Wednesday, Phillip Lim, an engine of affordable the craze, seemed to imbibe the spirit of Bonnie Cashin and Jenny Cavalieri, the “Love Story” leading actress. The adept collection included ponchos and toggle coats, white cotton shirts based on a peninsula, and fuzzy wool checked shorts and cute suspendered skirts with leather binding.
A year after Reed Krakoff, the president and artistic director of Coach, announced plans for a label of his own, his first collection featured oversize crew neck sweaters, want flap-pocket wrap skirts and a sleeveless coat in loden wool, and wide-leg trousers in moleskin or leather.
It was a tasteful start for Mr. Krakoff — the dry Beuysian textures, the nonaggressive lines were appealing — but you couldn’t eschew but see similarities to Ms. Philo’s way of dressing, especially those wide trousers. And beyond clean lines and reinterpreting outerwear classics, like the peacoat, you couldn’t dig a specific design imperative.
A separate problem is the heaviness of some of Mr. Krakoff’s coats, which he made central to the garnering. In bulk and color (gray, loden, army-blanket green), they looked sludgy. Women in temperate or warm parts of the country typically don’t think of coats as outerwear but as a finish to an outfit. In that feature, Mr. Krakoff’s focus seemed too narrowly trained on his audience of fashion editors and buyers.