Carven's Guillaume Henry traded Montmartre for Mali for Resort. He'd been inspired, he said during a brief visit to New York, by the work of Malick Sidibé, the Malian photographer whose 1960s photo reportage is one of street style's midcentury predecessors. The youth of Bamako, Henry said, "mixed European influence with their own origin," adapting as they went. Their contribution to his collection, he added, was a more casual element: "not as pretty or ladylike."

In keeping with the theme, Henry sketched sixties shapes—simple sheath dresses, bell-shaped coats, all with oversized collars—in zippy colors. Henry's materials had a kind of make-do-and-mend scrappiness: silk shantung mixed with poly, cotton woven with plastic. It veered a little close to the precipice of American political incorrectness, but more to the point, it raised the question of how appealing polyester is as a selling point.