You can tell that Edun designer Danielle Sherman has worked behind the scenes for most of her career. She doesn't talk about clothes in a sweeping way—there's no big dramatic story or inspiration behind her work. It's more about the individual techniques and using them to give the Edun brand context.

This is Sherman's second season watching over the LVMH-backed, Bono and Ali Hewson-founded clothing line. (Before that, she was design director of T by Alexander Wang and was on The Row's launch team.) Edun Spring 2014 is just landing on the sales floors now, yet Sherman has already fully redirected the label's aesthetic and talks a lot about building on the house codes, a term typically reserved for much more established brands.

So far, she's two for two. For Fall, Sherman focused on materials and texture-blocking, giving sporty silhouettes a fuzzy, earthy quality. "There was a lot of fabric manipulation," she said of the way the wool and alpaca was often brushed upward to create a "hairy" effect. "Even though it's Fall, I wanted to keep it light." For instance, a brushed herringbone wool coat—the sport element reflected in the blown-up engineer stripes near the hem—was unlined, creating a substantial look without the weight. The chunky turtleneck knits, too, had a certain bounciness. The narrow skirts had style, particularly a gray knit with those same white stripes, but the pants were the thing. Sherman showed a ton of oversize trousers—a camel and suede pair, others in black, gray, and ivory wool—but they weren't so huge as to be impossible to wear. Especially when paired comfortably with Adidas Stan Smiths, which Sherman customized with charcoal alpaca or fun fur woven into a check pattern. (Those were made especially for the show, but the handwoven herringbone boot, a collaboration with Manolo Blahnik, is for sale.) Sherman said that she wanted the collection to be playful, and those furry elements—including an ivory gym sack covered in wavy wool fringe, texture-blocked tunics and jackets featuring "teddy bear fun fur," plus the aforementioned charcoal alpaca—achieved that.

There is one point of inspiration Sherman plans on revisiting time and again: Africa. (The original and continuous mission of the label is to support trade in the continent, and to do so by producing garments and accessories there.) This season she visited the archives of the Quai Branly museum in Paris to look at African textiles dating back to the 1800s. "What was interesting to me was the natural, earthy colors," which informed Sherman's palette of cream, camel, black, and gray. The good news is, she has all of the continent to use for ideas. Enough for dozens, if not hundreds, of collections to come.