NEW YORK, United States — This season, Danielle Sherman was inspired by Sharon Beals’ photographs of wild bird’s nests, the black backdrops and layers of random objects serving as a starting point for a number of the season’s prints and textures, including a colourful mohair tweed developed with the South African producer Hinterveld, a photo-print satin featuring a spray of random buttons, and a confetti velour. Many of the fabrics were fashioned into the season’s ribbed-collar tracksuit, which was significantly cinched to create a real hourglass shape. (The designer favours masculine shapes and menswear ideas, so this was her way of incorporating femininity into the collection.) There was a hand-done feeling to many of the details, like fluro whipstitching on a windowpane check shawl, unravelling pinstripes on a raw-edge slip dress and randomly sized buttons down the front of a knit. Those flourishes matched nicely with the shoes, a creeper-brogue combination made sleeker by taking out the tongue.
Once again, Sherman worked with artisans from all over Africa in order to fulfil Edun’s original mission of ethical sourcing. For instance, Larbi Oubihi, a third-generation Berber silversmith, hammered the light-catching brooches that decorated several looks. What the designer has brought to the label is consistency and a real aesthetic. Has it been enough, though, to get Edun where its founders and its corporate owner, LVMH, would like the business to be? There is so much baggage with this brand that it might be an impossible task. The good news is that Sherman makes intriguing, cool separates such as this season’s work jacket, done best in a dusty-rose, super-wide wale corduroy.