Just before the show kicked off, a voice with an Australian accent came over the PA, advising us to keep our essentials close and stow anything bulky in the overhead compartments. The first looks featured sporty, piped viscose suits with utility accents, paired with chic pillbox hats in Pan Am blue that obscured the eyes, beehive wigs, and metallic scarves twisted to give off a whimsical *Petit Prince* vibe. Later, we saw double-faced, two-tone coats that wrapped the wearer in dramatic draping and came with built-in head coverings, hinting that we were soaring into some kind of filtered Pierre Cardin-inspired world of retro futurism.

Backstage, Deanna Fanning shared, “We were thinking about identity during moments of travel and transition.” The aviation details, she explained, were tied to one of the characters she and her sister, Laura, had dreamt up as figures to embody the collection. Another character, they revealed, was a collector of memories, which was reflected in the house’s custom postage-stamp prints on moto jackets and zippered jeans developed in partnership with Levi’s. Apparently, they had to explain what stamps were to some of their younger interns.

The third character they envisioned was “the warrior.” Dressed in metal mesh pieces that hinted at armor (sometimes seemingly deconstructed from motorcycle gear), she moved through the show in bias-cut, flowing dresses made of jewel-toned satin. “We were thinking about movement, and how sometimes it feels tough to occupy space or even like you don’t belong in it,” Deanna said. This collection was a carefully steered exploration of nostalgia-tinged maximalism, the kind of boundary-pushing fashion that the brand’s loyal fans would no doubt embrace with open arms.