For this reason, essential fabrics were chosen: a suit? In gabardine or in poplin as an alternative to linen. A blouse? In striped gauze, or in solid crêpe – all navy, all white. A top and skirt for the sea? In featherweight Flanders silk. 
And deliberately, many “construction-nonconstructions” were proposed: many flat pleats, many roulé seams, much gold or coloured topstitching, many armholes cut in caftan style, many shaped and asymmetrical peplums both for blouses and for leather blousons. Navy wool cabans have sleeves gently puffed by deep folds. Jackets are collarless, buttoned in burberry style, with flat, thin wrap pleats at the back, along the facings, and in the pockets. 
And the base colours were prioritised – elegant as they have always been: navy, natural white, khaki, with the suggestion to pair them with “red rock” brown or with tobacco. 

And so, here the choice of fabrics and materials without ambiguity or softness: thick double face tailoring cloth finished in grosgrain, Harris tweed or salt-and-pepper tweed, heavy jersey with a melton feel, rubberised cotton for raincoats, padded nappa and borrego for blousons, double crêpes with an interlock effect for evening, rustic loden teamed with leather.

And then, a predilection for metropolitan colours: dusky, foggy greys; dark, smoky greys; a range of Oriental blues (China blue, indigo, carbon-copy blue); many decisive, deep reds; and, naturally, black.

And again, the decision to bind everything together through guiding threads such as topstitching and certain cuts and devices borrowed from the “land of the kimono”: a recurrent motif is the obi – in knit and leather for daytime pieces, in sequins for evening ones, where, when emphasised, it sometimes becomes a small bodice worn over special trousers with a triangular cut, in faille, silk grisaille or velvet.