It’s an interesting moment for Shane Gabier and Christopher Peters. Clearly, the designers are set on the development of Creatures of the Wind beyond limited-viability editorial charm, a direction evident in their last two collections. With a recent investment of cash from the Los Angeles-based Dock Group, they can now focus more fully on the creative side of this endeavor.  

The designers called their spring collection “The Pale Hyperborea,” after the mythological Greek paradise of nonspecific location; they were drawn to the notion of the ephemeral. Thus, they worked the nonspecific angle with vague tropical and desert references in their palette, the latter emergent from a current fascination with Eugene Von Bruenchenhein’s Fifties photographs of his wife, staged pictures in which she looked like an “other-worldly being,” according to Gabier.

The results were plenty charming if imperfect as the designers negotiated the delicate dance of viable eccentricity. They did so with crisp, at times feisty, tailored shapes, and while the opening looks swung a little too Prada, happily, what followed did not. Unusual combinations dominated: a sleeveless coatdress color-blocked in shades of pink and gray over a sweater with athletic arm stripes, a terrific clash of shine via a plastic-coated jacket over silver metallic skirt. That glossy current ran throughout, rendered both casually — giant gold pajama pants worn with a black sweater — and in an evening dress that rang a little mundane by comparison. Not so the show closer, a dove gray nylon dress under a techno-mesh corset with artisanal embroidery. It made for an iconoclastic take on high evening, and a (not too) arty delight.

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