Her girl, she said at a preview at her studio, is “classic in spirit, but a bit of a traveler.” She has a “magpie sensibility.” She’s a souvenir collector. Hence the ethnic embellishments and accessories scattered throughout. The tie-dye skirts and dresses were made by a collective of artisan women in Guinea, the rings on each girl’s fingers in Ghana. Burch’s take on the smoking slipper came courtesy of the original version from Morocco, where, not coincidentally, she spent some time herself this summer.
The mix yielded a charming collection. The designer’s magpie sensibility has sometimes been more popular with customers than critics, but the addition of ornament worked a treat here. Maybe that’s because she kept the shapes simple—Julia Nobis’ embroidered evening dress is, at heart, just a maximalist polo shirt, and many of the frocks nothing more complicated than what a girl might wear to a county fair. Burch may have painted a picture of innocence, but she’s all experience. Her sorties worldwide—both personally and professionally, as she continues to expand her business globally—gave her strong grounding here. No wonder she took the occasion to introduce a carry-on bag to her accessories collection.
The Living Fashion 