Huns on parade opened Damir Doma's new show. The designer, better known for his darker, drapier, more minimal creations, was dreaming of travel. "It's a new perspective on my work," he explained before the show. He exported his sensibility to the corners of the globe, drawing on African, Slavic, and Asian costumes—or maybe more precisely, he imported their sensibilities into his. The shapes were still recognizably Doma, from the drop-crotch carrot pants to the fluttering, blouse-like tops and oversize knits. But new play with pattern and the introduction of fur added dimension and richness to the offerings. Doma said that, several seasons into his menswear line, he's comfortable enough with his own aesthetic to begin pushing it beyond his comfort level. (The same goes for his casting, which was, fittingly, more international.) The best pieces played up a lushness that his darker work sometimes lacks. When two vividly colored kimono tops closed the show, they felt like a long-promised reward.