Albert Kriemler was in anniversary mode: It has been 10 years since he designed the house’s Ai bag, its trapezoidal shape a brand centerpiece, and a cottage-sized one was constructed as the backdrop for his spring runway. His choice of silver for the giant bag, and much of the collection, was not a festive statement. Rather, the origins of the eye-catching sheen came from a more contemplative source — morning sunlight shimmering on a lake — one in Northern Italy, no less.

“This is a fabric I did in my studio,” said Kriemler backstage before the show, moving toward a pale blue suit made of a thinly striped pleated foil fabric. The trousers were long and flared, paired with a straight-cut jacket. Cuffs and collars were turned up, conveying a preppy breed of confidence that ran through the collection. Completing the look: an Ai bag in mirrored leather — more shine.

Coco Rocha set the tone of the show, marching down the runway in an all-white ensemble — the square-cut utility jacket came in cotton denim; her white leather Ai bag was unfolded into the full tote shape, which she gripped like a weapon — headed straight to the tennis club, one supposed, judging by that “don’t mess with me” look.

Kriemler drew from works by Antonio Calderara, an Italian artist who, in the Fifties, turned his back on curves and embraced geometric abstraction, using only squares and lines to express himself. The shapes were seen in the square cuts of jackets, square yellow stone embellishments on knits and a suit jacket, and, in a softer rendition, in a grid-like pattern embroidered into tulle, which came in patches on dresses and suits. The artist’s pastel palette, meanwhile, was transferred to an airy silk georgette kaftan gown, in long, horizontal stripes, and a long, bustier dress covered in sequins — another unusual material for the house.

With a modern approach, Kriemler offered a welcome update of preppy style.

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