February 07, 2013 New York
That's not to say there was no development here. Kunz has a talent for finding rich sources of inspiration, and this season that was particularly true; her latest muse was Danish explorer and cartographer Peter Freuchen, who mapped the Arctic at the start of the twentieth century and married an Inuit woman along the way. There was a definite Eskimo vibe to her rich shearlings for both sexes, and in the women's collection, her seawater-colored dresses, with their roiling, wavelike drapes, felt genuinely fresh. The fact that these dresses were shown essentially unadorned attested to their strength. There were other strong looks, meanwhile, that deserved a similarly simple presentation, notably the belted, Brooklyn boho-esque silk jumpsuits and dresses.
The men's collection was less newsworthy. There was a bit more tailored outerwear than usual, all of it handsome, and a lot more use of leather; Kunz also proffered some fine small ideas, like the backpack straps sewn into parkas and sweaters. (The straps were seen in the womenswear as well.) But overall it was hard to detect much newness, and the multilayered styling of most looks was cluttered and overwhelming. Kunz has a singular menswear point of view, which is very much to her credit, but you can't help but feel it ought to encompass more than it does—different kinds of fabrications, say. A little bold experimentation would go a long way. She should take a cue from her nomadic muses and get out of her comfort zone more often.