The earthquake in Japan last March was on everyone's mind, and the fashion community in particular stepped forward with fundraising initiatives and gestures of hope. Kimberly Ovitz grew her collection from the event, becoming preoccupied, she said backstage before her show, with "disaster versus relief and man versus nature."

The work of the Japanese architect Shigeru Ban, whose temporary cardboard housing structures are used to accommodate disaster refugees, was of particular significance: Ban's Curtain Wall House, with drapes in place of plaster, informed the collection's flowing silhouettes and ethereal feel. Breeze-catching pieces in sheer and lightweight fabrics—one of them made with Japanese paper—stayed rigged to the body with flyaway straps and subtle buckles, which were hints of utilitarianism rather than structural essentials. Embellishment was minimal, making the pattern of a white jacquard jacket pop against the loose knits and cottons.

The mood was dreamy and somber, but the clothes, while repetitive, had an easy grace. The sheer white top that closed the show had an obilike belt that turned into a long, fluttering train; it looked beautiful billowing atop a pair of silky pajama pants.