The designer focused on modern working men's wear as there were men's short incorporated with tie and shirt. The idea was to create a collection for modern digital nomads where leisure is a part of the work now.

Knitwear was a primary focus of his wardrobe, which had a glimpse of the Eighties lifestyle, from superfine striped polos to slouchy, color-blocked, chunky sweaters — one worn with swim briefs — and old-school knitted ties, with the texture, echoed in braided belts.

The color palette had all the blues of the sea and all the shades of the sun.

Riffing on local style, the designer opened with a light turquoise zipped jacket and straight pant falling somewhere between a track pant and a summer pant, a matching hanging wallet slung at the neck.

He also sprinkled in some tongue-in-cheek southern clichés, like the sunflower and wheat prints developed in-house, with the latter revisited in the jewelry.

Worn unbuttoned, a shirt in an orange-and-yellow print with more of a tropical feel had a Henri Matisse look to it, while an outfit in a blue striped cotton canvas brought to mind parasols and sun beds.

A fisherman’s tunic in canvas was revisited in lightweight cotton versions with Jacquemus’ autograph embroidered on the chest. A formal grayish-green suit with a simple two-button jacket was paired with a Bermuda short in the same cloth, and the washed cotton canvas shorts or rolled-up pants had a bit of a cargo feel.

The Designer worked on men and women collection, collection at the show had mixed style, there were variations of style ranging from the sporty item, tailored suits, shorts, jackets, and Southwest American blankets.

Chitose Abe set out to defy preconceived notions about clothes — for men and women — and she succeeded with a collection that was a color-packed mosaic of traditional tailoring, Native American blankets and nature-inspired designs from Hollywood tattoo artist Dr. Woo. 

Her glorious hybrids included a jacket that was part tailored pinstripe, part Army green anorak; blankets that morphed into kilts — and vice-versa — and a one-sleeve fisherman knit sweater. Oversized jackets and coats, meanwhile, zipped up and down to create different shapes and volumes.

Abe worked with Pendleton, better known for its Southwest American blankets, on pieces such as anoraks, trousers, long pleated dresses and capelets that were adorned with the traditional geometric patterns. The brand also worked with Nike on color-blocked, double-swoosh sneakers that captured the whimsical mood of the collection and will make their shop-floor debut in January.

Woo’s delicate tattoo designs were reborn as embroideries, with birds, bugs and nature-inspired motifs adorning pieces including a cobalt blue button-front coat, two-tone satin baseball jackets, and a shrunken pink knitted poncho.

Shorts suits were a marriage of traditional check suiting and denim jacket — for all those who can’t decide what to put on in the morning — while long fringed blanket-like skirts trailed behind models — for all those who can’t bear the thought of getting out of bed.

Polka-dot silk dresses and trousers were spliced with bright green pleated panels while chiffon tops came with wispy ties on the sleeve. Coats were among the standouts of the show — especially the zipper anoraks with gently flapping ribbons in yellow, red and orange

Ami Alexandre Mattiussi worked with the boxy plaid shirts with oversized sleeves and nubby, hand-knitted sweaters. There were some tailored pieces, too, remnants of a city wardrobe in the form of long coats and loose suit jackets.

The Designer collection was also inspired by camping, fishing, and scouting in the form of chunky sandal-and-sock combos and long raincoats paired with cropped jeans.

The Shorts were knee-length and baggy, Boy Scout style, and worn with matching jackets while models wore bucket-style hats with wide brims.

The designer looks back to the Seventies with a lava lamp color, thick swirls, and sine waves — fruits of a collaboration with the estate of Verner Panton, the Danish architect, and designer who helped define an era.

Even those who’ve never heard of Panton can picture his work: The curving, bright molded plastic chairs, the blow-up ones and the styles with the big heart-shaped backs. Panton was also the father of those unmistakable mushroom lamps, working a color palette that ranged from feisty red to hot orange to cool blue and violet.

The collection was clean, which at times got repetitive on the runway — that took in colors ranging from midsummer sunset and Campari orange to marine blue, hot yellow and bright green.

Van Noten worked those shades into Panton’s undulating patterns on everything from swimming trunks to tailored suits with cropped trousers.